G7469628

THE PIANIST

琴韻

— Interview with Matti Raekallio 專訪 Matti Raekallio — Expressing our Emtion: A Pianist Reflection - MiYeon Lee 傳達情感︰一個鋼琴手的自白 - MiYeon Lee — Studying Beethoven's Piano Sonata: In defence of Historical Editons - Tristan Lee 細聽貝多芬鋼琴奏鳴曲：古典版本的辯解 - Tristan Lee — How to pick the right piano to your need? - Henry Wu 如何按自己需要，選擇合適的鋼琴？

2015/7 Issue No.15 第十五期

編者的話

Editor Foreword

歡迎來到《琴韻》！

Welcome to The Pianist !

We are extremely grateful for all the recent complimentary emails and letters from the teachers, students and music lovers in Hong Kong and Macau. This gives us an enormous support and encouragement in the work that we have put into this magazine! Being the first and only piano magazine in Hong Kong, we greatly value your view and therefore please keep the letters flowing in.

我們非常感恩收到近期所 有來自香港及澳門的老 師、學生及音樂愛好者寄 來讚賞本刊的電郵及信 件。這些好評為我們對 《琴韻》所付出的努力工 作帶來莫大的支持及鼓 勵！作為全港首本，亦是 唯一一本以鋼琴為專題的 雜誌，我們十分重視你們 的看法，因此歡迎大家繼 續來信。 我們的忠實讀者可能會發現到，由第一期開始 我們封面藝術家的多樣性；在之前出版的《琴 韻》，我們分別介紹過來自俄羅斯、法國、匈 牙利、中國、英國及美國的世界級鋼琴家。 在本期，我們十分榮幸邀請到著名芬蘭鋼琴 家 Matti Raekallio ，暢談他於茱莉亞音樂學院 （The Juilliard School）擔任教師時的見聞及分 享他對普羅哥菲夫（Prokofiev）及拉赫曼尼諾夫 （Rachmaninoff）的音樂之看法。他亦會從音樂 學角度，概述他對鋼琴家選擇指法的看法！與此 同時，澳洲鋼琴家Tristian Lee會探討貝多芬的鋼 琴奏鳴曲不同版本的曲譜，而國際知名、屢獲殊 榮的韓籍鋼琴家MiYeon Lee將會分享自身經驗及 解釋鋼琴家如何表達自己思想感情。胡國安有關 鋼琴調音、調整鋼琴音色及調整鋼琴中機動性配 件的文章相信無需多花筆墨去向我們的忠實讀者 介紹了；由於「里茲國際鋼琴大賽」將於九月舉 行，英國鋼琴家Matthew McCombie將會對大賽 中其中一位評審Boris Petrushansky的唱片：柴 可夫斯基（Tchaikovsky）的《四季》 和《兒童 鋼琴曲集》作出評論。 炎炎夏日又即將來到，除了享受陽光、海灘及戶 外活動外，夏天的來臨同時象徵了第三屆「香港 國際鋼琴演奏及教育會議」即將舉辦！我們誠意 邀請各位讀者於八月十日至十二日，上午十時至 晚上七時蒞臨香港文化中心參加為期三日的會 議。是次會議將包括大師班、講座、討論及獨奏 會；而所有活動及節目均由香港部分最為優秀的 鋼琴家老師講授及負責。請大家一同來參與這精 彩盛事！欲知更多詳情，可翻閱至第16頁。 與此同時，願大家都可享受夏日的陽光，希望在 八月的會議看到你們！

Our loyal readers may have noticed the diversity of our front cover artists from the very first issue; world-class pianists from Russia, France, Hungary, China, the Great Britain, and the United State have all featured in previous editions. In this issue, we have the renowned Finnish pianist, Matti Raekallio, where he discuss some of his observation as a teacher at the Juilliard School and share his perspective on music of Prokofiev’s and Rachmaninoff’s. He also outlined some of his musicological thoughts on pianists’ choice of fingerings! Whilst Australian pianist Tristian Lee explores the different score editions of Beethoven Piano Sonatas, the international award-winning Korean pianist MiYeon Lee reflects on her personal experience and explain how pianists express their emotional thoughts. Henry Wu’s article on piano tuning, voicing and regulation needs no further introduction to our regular readers; since the Leeds International Piano Competition will take place in September, the British pianist Matthew McCombie will review a recording from one of the competition juries, Boris Petrushansky – Tchaikovsky’s The Seasons and Children’s Album.

It is the time of the year again – sunshine, beach, and outdoor activities. Apart from those, the third Hong Kong International Piano Performance & Educational Conference is on its way again! We would like to invite all our readers to attend the three-day conference at the Hong Kong Cultural Centre from 10th – 12th August, from 10am to 7pm. The event includes masterclasses, lectures, discussions and faculty recitals; all given by some of the Hong Kong’s finest pianists and teachers.

Do join us for this wonderful occasion! For more information, turn to page 16.

Meanwhile, enjoy the sun and looking forward to meeting you at the Conference in August !

Blanc Wan Editor in Chief

尹俊邦 總編輯

尹俊邦 JULY 2015 / The Pianist

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The Pianist Editor in Chief Contributors

Blanc Wan MiYeon Lee Tristan Lee Matthew McCombie Matti Raekallio Blanc Wan Henry Wu

Production Manager Proof Reading and Translation

馬正揚 Chris Ma Chloe Chan 陳康琪 Joseph Lam 藍頌霖 Christiana Choi Hiqueen Cheung Joyce Fung Peach Poon Charlotte Tung

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Friends of Hong Kong International Pianist Association Ltd. New Century Printing Industrial Ltd.

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The views and opinions expressed here are those of the authors and not of the publisher, the editor or it employees.

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JULY 2015 / The Pianist

Content P.6

目錄

Upbeat 鋼琴快訊 Studying Beethoven's Piano Sonatas: In defence of historical editions ― Tristan Lee 細聽貝多芬鋼琴奏鳴曲：古典版本的辯解

P.13

Piano Workshop: Motivation for Instrumental Learning ― Blanc Wan 學習樂器的動機

Interview with Matti Raekallio 專訪Matti Raekallio

P.24

P.18

Pianist Reflection: Expressing our Emotions- A pianist's reflection ― MiYeon Lee 傳達情感—— 一個鋼琴手的自白

Piano Clinic-How to pick the right piano to your need?

- Henry Wu 如何按自己需要，選擇合適的鋼琴？

P.29

P.10

P.27

Piano Recordings – Tchaikovsky's The Seasons and Children's Album – Matthew McCombie 柴可夫斯基的《四季》及《兒童鋼琴曲集》 JULY 2015 / The Pianist

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for July 2015

The Barenboim Piano 巴倫邦的鋼琴 The renowned conductor and pianist, Daniel Barenboim conceived and commissioned a new piano – Barenboim-Maene Concert Grand. The new piano was built by the Belgian instrument maker Chris Maene, with support from Steinway & Sons. According to Barenboim, the new piano was inspired after he played the Franz Liszt’s restored piano in September 2011. Barenboim was subsequently struck by the differences in sound and the construction of the instrument (parallel strings rather than diagonal crossed ones). Barenboim performed on the new instrument for the first time on the 27 May at the Royal Festival Hall in London; according to our Editor in Chief Mr Blanc Wan, who was invited to attended the concert and commented: ‘the transparency of each note can be differentiated very clearly, but the stability of tuning was perhaps incomparable to modern Steinway.’ 著名指揮家及鋼琴家Daniel Barenboim構思並正式委托設計師製作新鋼琴 - BarenboimMaene Concert Grand 。新鋼琴由比利時樂器製作員Chris Maene和Steinway & Sons聯 手製作。據悉，Barenboim於2011年9月彈奏李斯特 (Franz Liszt) 的修復鋼琴後，忽然有創造這部新鋼琴的念頭。過程 中，他遇到很多障礙，包括處理聲音的不同和如何建造鋼琴的問題（是平行琴弦，而不是對角交叉琴弦）。5月27日， Barenboim於倫敦皇家節日音樂廳首次演奏此新鋼琴。本訊主編尹俊邦亦被應邀參與這場音樂會。他指「每個音亦能 清楚分辨，但調音的準確度可能難以和現今Steinway相比」。

Hong Kong International Piano Performance & Educational Conference 香港國際鋼琴演奏及教育會議 The third Hong Kong International Piano Performance & Educational Conference will be held at the Hong Kong Cultural Centre from 10th – 12th August 2015. The three-day program includes masterclasses, lectures, discussions and recitals; as well as additional workshops on Advance Theory, Jazz, Musical Analysis and special classes for pianists aged 8 to 18. Faculty includes some of Hong Kong’s finest pianists and teachers. For more information, please see p.16-17; online application form can be obtained at http://tinyurl.com/hkipa2015 第三屆香港國際鋼琴演奏及教育會議在 2015 年 8 月 10 至 12 日於香港文化中心舉行。連續三天的活動包括大師課程， 講課，研討和演奏會。另外亦增設一些工作坊，題目在於進階樂理，爵士樂，音樂分析以及專為8至18歲的小鋼琴家 而設的課堂。全由香港出色的鋼琴家和音樂導師教授。 詳情請細閱本訊16至17頁。網上表格可於此網址下載：http:// tinyurl.com/hkipa2015 6

JULY 2015 / The Pianist

Piano Professor Forced to Retire by the Court 鋼琴教授被法院勒令退休 Russian-American pianist and teacher, Lev Natochenny was forced to retired by the court in Frankfurt, Germany, when he turns 65. A piano professor at the Hochschule für Musik und Darstellende Kunst, Natochenny holds the position of Distinguished Professor of Piano at the institution, after teaching at the Manhattan School of Music, Mannes College of Music and City University of New York. Educated at the Moscow Conservatoire, Natochenny was a prizewinner at the Busoni International Piano Competition in 1981. 美籍俄裔鋼琴家和鋼琴老師納托錢尼(Lev Natochenny) 因年屆65歲，被德國法蘭 克福法院勒令退休。納托錢尼曾任教於曼哈頓音樂學院、曼尼斯音樂學院和紐約 市立大學。他現在擔任國立法蘭克福音樂及表演藝術學院的鋼琴教授，並獲得傑 出教授的榮譽。納托錢尼畢業於莫斯科音樂學院，是1981年布梭尼國際鋼琴大賽 的得獎者。

Royal Northern College of Music (RNCM) ranked top for Research Excellence 英國皇家北方音樂學院(RNCM) 在研究方面排名首位 The Higher Education Funding Council for Education (HEFCE) announced the outcome of the 2014 Research Excellence Framework (REF), ranking the RNCM as the UK’s leading music conservatoire for research. REF evaluates the quality of research at UK higher education institutions, and RNCM was rated as being of world-leading with international quality – the top conservatoire in the UK. The Royal Northern College of Music is a world leading conservatoire and has trained students to a world-class level. The RNCM alumni have included Sir Harrison Birtwistle, Sir Peter Maxwell Davies, Peter Donohoe, Stephen Hough, John Ogdon, Alexander Goehr. 英國高等教育撥款委員會(HEFCE)發表了2014年英國高等教育研究 卓越架構 (REF) 的評鑑結果，英國皇家北方音樂學院 (RNCM) 被評 為英國研究方面的頂尖音樂學院。REF評估英國高等教育機構的研 究水平，而RNCM被評為具國際水平的世界一流學府，也是英國最 頂尖的音樂學院。RNCM是一家世界一流的音樂學院，並且訓練世界級的學生。 RNCM的校友包括作曲家哈里森．伯特威斯爾爵士 (Sir Harrison Birtwistle)、彼 得．馬克斯韋爾．戴維斯爵士 (Sir Peter Maxwell Davies)、鋼琴家彼得．杜南荷 (Peter Donohoe)、史蒂芬．霍夫 (Stephen Hough)、約翰．奧格登 (John Ogdon) 和亞歷山大．高爾 (Alexander Goehr)。 JULY 2015 / The Pianist

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Competition Prize-winner but No Awards…… 沒有獎品的得獎者……

It is sometimes the case that competition prize-winners have to wait for their prize money to be awarded for several months, or in some occasion, more than a year. According to the Alink Argerich Foundation (AAF), the court in Caen has ordered the European Piano Competition in France to send the awards and payment to its prize-winner and the competition juries. Despite the competition was held in 2013, prize-winner and jury members who still expect some payment from this competition can now send their claims to the competition contact. Contact details can be obtained from the AAF website. 比賽的得獎者在得獎後數個月，甚至一年後才獲發獎金，並不是什 麼稀奇的事。根據Alink Argerich Foundation (AAF)的消息，法國康 城的法院日前勒令歐洲鋼琴比賽的主辦單位發放獎金給得獎者及支 付一眾大會評審的薪金。比賽早在2013年舉辦，依然未收到獎金和 薪金的得獎者和評審現在可以去函向主辦單位追討。相關的資料和 連絡方式已上載於AAF的網頁中。

Mozart’s Hair and Beethoven’s Hair at Auction 拍賣: 莫札特和貝多芬的頭髮

Mozart’s hair and Beethoven’s hair were at the Sotheby’s auction at the end of May. The Sotheby’s estimated the value the hair of Wolfgang Amadeus Mozart at £10,000, but it turned out to be £35,000 at the auction.

The wisp of Mozart’s hair in a gold locket, dated back to 1791, was passed from his widow Contanze to the German conductor Karl Anschutz, before becoming the possession of the English composer Arthur Sommervell. On the other hand, an invitation to Beethoven’s funeral and Beethoven’s hair was first estimated to reach £2,000 turned out to be £8,000. 莫札特和貝多芬的頭髮於五月 底在由蘇富比主辦的拍賣會中 被拍賣。蘇富比估計，莫扎特 的頭髮估值一萬歐羅，最終以 三萬五千歐羅被投得。莫札特 那一縷在金鎖內的頭髮的歷史 可以追溯到 1791 年—由他的 遺孀康特坦策 (Contanze) 在 改嫁給英籍作曲家亞瑟．索 莫威 (Authur Sommervell) 前交給德籍指揮卡爾．安許茨 (Karl Anschutz)。另一方面，貝多芬葬禮的請帖和頭髮估 值二千歐羅，最終亦以八千歐羅被投得。

JULY 2015 / The Pianist

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Studying Beethoven’s Piano Sonatas: In defence of historical editions 細聽貝多芬鋼琴奏鳴曲： 古典版本的辯解 When a pianist sits down to learn a sonata by Beethoven, there is little doubt which edition he or she will choose to learn from. Despite the fact that there are probably more editions of the Beethoven piano sonatas than any other works in the repertoire, the pianist will almost always choose the edition of G. Henle Verlag. For some reason, historical editions (often edited by excellent pianists) have fallen out of fashion.

對於一個鋼琴樂手坐下來選擇學習哪個版本的貝多芬奏鳴曲是沒有疑問的。儘管貝多芬奏鳴曲比起其他樂章曲目 有更多不同的版本，鋼琴樂手大多選取G. Henle Verlag的版本。基於某些原因，古典版 (通常由優秀的鋼琴家編寫) 已不合時宜。

There is no denying the exceptional quality of Henle editions.

As Günter Henle once stated, his intention was to ‘ensure the publication of Urtext editions of music on a scholarly basis, in particular from the 18th and 19th centuries’. Having done just that, Henle editions, with their immediately identifiable blue cover, have become the most authoritative for Classical repertoire. But it is in a musician’s nature to search for what lies beyond the printed score.

As a leading pianist (who shall remain nameless) once confided to me, ‘Sometimes Henle editions fail to lift the music off the page’.

Given the many historical editions available, perhaps these can be the key to discovering more about this extraordinary music.

Henle的版本無可否認是很出色的。Günter Henle曾說，他的目 的是要“確保原典版 ('Urtext')的音樂在學術基礎上出版，特別是 18至19世紀期間的”。僅是為了這樣，有著讓人很容易認出來的 藍色封面，Henle版本早已是最有權威的版本。可是，找尋樂譜 下隱藏了甚麼是音樂家的天性。一個重要的鋼琴家 (在此就不公 開其姓名) 曾向我透露，“有時Henle的版本無法讓音樂脫離樂譜 的框架”。鑑於有很多古典版本，或者這就是讓我們更了解這首 非一般樂曲的關鍵。

One of the first pianists to ‘lift’ Beethoven’s music off the page was Franz Liszt. He performed a large number of Beethoven’s sonatas throughout his life. Liszt also edited a complete edition of the Beethoven sonatas. This edition was first printed in Germany in the late 1850s before being reprinted in London later in the century. The German and English editions are both hard to come by, but I have been lucky enough to find an English edition. Unfortunately, this reprinted edition has been revised by C. Kühner, and it is therefore difficult to decipher which editorial suggestions were made by Liszt and which were by Kühner. We do know that Liszt meticulously edited the final three piano sonatas and therefore we can assume that in these works the detailed fingering, pedalling, and metronome suggestions belong to Liszt. What is most remarkable about this edition is the accuracy of the text. It is perhaps the earliest example of an ‘Urtext’ edition. Liszt has presented the music as clearly and honestly as possible, a demonstration of his respect towards this music.

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JULY 2015 / The Pianist

Franz Liszt (李斯特 )是第一批帶貝多芬的音樂“脫離”樂譜框架的其中一位鋼琴家。他一生中彈奏多首貝多芬奏 鳴曲，亦編寫過完整的貝多芬奏鳴曲版本。這版本於 1850 年代後期於德國首次印刷，其後在本世界末於英國重 印。兩個版本也不容易找到，但我很幸運地找到一份英文版本。可是，這個重印版給C. Kühner修改過。因此，很 難詮譯哪些是Liszt編寫的，哪些是Kühner修改的。我們可知道Liszt細心地編寫最後三首鋼琴奏鳴曲，所以我們可 以假定那些詳細的指法，踏板和節拍的建議是出於Liszt的手筆。這個版本最為人驚嘆的是樂章中的準確性。這或 許是最早期的 ‘原典版’。 Liszt盡可能清晰又真實地把音樂呈現出來，是他尊重音樂的表現。 In the first movement of the ‘Moonlight’ Sonata Op. 27/2, von Bülow suggests a ‘finger-pedal’ solution in bar 57 in order to create a sustained effect across the harmonies.

This is because Beethoven wanted the pedal to remain down throughout the movement, although this is impossible on a modern piano.

在‘ Moonlight ’ Sonata Op. 27/2 的第一樂章， von Bülow提議以 “手指踏板” 彈奏第57節，使能在和弦中 營造延音的效果。這是因為貝多芬希望琴鍵可以在這樂章 中一直給按下，雖然在現代鋼琴中是很難做到的。

Liszt’s pupil, Hans von Bülow also made an edition of the Beethoven sonatas. Published by Schirmer, this edition is much easier to obtain than Liszt’s edition. It is significant that Liszt preferred to teach from this edition than from his own.

Unlike Liszt’s edition, von Bülow’s is saturated with editorial suggestions. There are many footnotes discussing certain passages as well as transcribed facilitations. There are countless fascinating editorial suggestions in this edition, but I will restrict myself to discussing three of them here.

Liszt的學生，Hans von Bülow，也曾編寫過貝多芬奏鳴曲。 由Schirmer出版，這版本比Liszt的版本更容易找到。重要的 是，Liszt通常以這個版本來教學生，而不是自己的版本。和 Liszt的版本不同的是von Bülow的版本充滿了編輯的提議， 不僅有講解某些段落的註釋，亦有抄錄別人如何彈奏樂曲的 建議。這個版本有無數令人著迷的編曲建議，但在此只會說 說其中三個。 Any pianist who has attempted the ‘Waldstein’ Sonata Op. 53 knows of the difficulty in the last movement of playing the trills and melody simultaneously in the right hand. Von Bülow offers a facilitation of this trill by writing it out as demisemi quavers below the melody. Even if one chooses not to execute the trill this way in performance, it is a valuable way to learn this passage at first in order to control the phrasing of the melody and the balance between the voices in the right hand.

任何曾嘗試彈奏‘Waldstein’ Sonata Op. 53的鋼琴家都知道在最終樂章中同時以右手彈奏顫音和主旋律是有多 困難。Von Bülow建議是把顫音寫成三十二分音符，放在主旋律下。就算選擇不把顫音彈出來，這亦是一個學習這 段落很有價值的方法，對控制如何把旋律斷句和平衡右手彈出來的聲音很有幫助。 JULY 2015 / The Pianist

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At the very end of the massive ‘Hammerklavier’ Sonata Op. 106, von Bülow has transcribed the way Liszt performed the final passage.

According to von Bülow, Liszt replaced the B flat major scale in unison with oscillating double octaves. He then turned the trills above the octaves into tremolo ninths. Somewhat extreme by modern standards perhaps, but one can only imagine how exciting it would have been to hear Liszt perform this piece. Considering Liszt was the first pianist capable of performing it, in my view we can forgive him for slightly altering the ending.

在非常長篇的‘Hammerklavier’Sonata Op. 106的結尾裡，von Bülow抄寫了Liszt彈奏終段 的方法。根據von Bülow， Liszt將降B大調音階 一致的改為振動的兩個八度。然後，他把高八 度的顫音彈奏成第九度音程顫音。可能對於現 代音樂的準則來說是有點極端，但可以想像得 到，能聽到Liszt演奏這首樂曲會有多激動。考 慮到Liszt應該是首位能駕馭此樂曲的鋼琴家， 在我而言，我們可以原諒他在結尾的小改動。 These are only a few examples of the fascinating insights available in historical editions of Beethoven’s piano sonatas, and this is very much just the tip of the iceberg. Some other editions of interest are those by Schenker, Schnabel and Arrau. With historical editions it can be hard to decipher which markings belong to Beethoven and which to the editor, and there can be the occasional wrong note printed. Because of this, I would suggest that a pianist learns from a quality ‘Urtext’ edition such as Henle (or the recently printed ABRSM edition edited by Barry Cooper). But it is important not to limit ourselves, we pianists can gain so much from consulting the historical editions of the 19th and 20th centuries.

這只不過是貝多芬鋼琴奏鳴曲的古典版中其中一些引人入勝的見解，只是冰山一角。其他讓人關注的版本包括 Schenker的版本，Schnabel的版本和Arrau的版本。在古典版本裡，很難詮譯哪些記號是貝多芬自己寫下的，哪些 是由編者加上的，而且有時會有印刷錯誤的情況。因此，我提議鋼琴樂手應從有質素的‘原典版’中學習，例如 Henle的版本 (或是最新印刷的ABRSM 版，是由Barry Cooper編寫的)。但是，重要的是不要限制自己。作為鋼琴 樂手，我們可以透過參照19至20世紀期間的古典版中得到更多收獲。

Tristan Lee

Tristan Lee is an Australian pianist rapidly gaining international recognition for his distinctive style and musicianship. Recent highlights have included performances of concertos by Mozart, Beethoven, Brahms, Grieg and Rachmaninoff; and solo recitals throughout UK, Italy, Lithuania, France, the Netherlands, Cuba and Australia. Widely sought as a chamber musician he has appeared twice at the Wigmore Hall to critical acclaim. As a keen interpreter of contemporary music, he regularly performs the music of the present day and has given numerous world premiers of works by leading British and Australian composers. Tristan Lee completed his postgraduate study at the Royal Northern College of Music following undergraduate study at the University of Melbourne. He has won many notable prizes and scholarships including the Geoffrey Parsons Trust 2012 and the Ian Potter Cultural Trust 2010. Since completing his formal studies, he has been mentored by Leslie Howard and Benjamin Frith, and between 2012 and 2013 he undertook a period of study with renowned French pianist, FrançoisFrédéric Guy in Paris. He is currently studying a PhD in performance at the University of Melbourne.

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JULY 2015 / The Pianist

Motivation for Instrumental Learning

學習樂器的動機 In all the things that we do, there is always an initial motivation before we commence the task; whether it is getting out of bed, going to work, or reading this article. Indeed, there is also a sense of motivation for instrumental learning, but it is often the case that children in Hong Kong only have one simple reason for taking up an instrument. This article aims to deconstruct children’s motivation in instrumental learning, and attempts to offer another perspective for teachers to encourage their students in a positive learning approach. Before considering how teachers can motivate their students, it is essential to understand some basic learning principles. There are two distinct categories in particular that allow us to identify where our motivation comes from. Thus, it would be useful to outline them below and reflect on the possible motivation strategies for our students. 我們開始做任何事之前，都總有一種動力去推動，不論是離開床鋪，去上班，甚或是閱讀這篇文章都一樣。 其實學習樂器的過程中也有一種動力，但是很多時候，香港的孩子學習樂器純粹只有一個原因。這篇文章希 望解構兒童學習樂器的動機，並且提供另一角度，讓老師鼓勵學生以積極的方式學習。在思考老師可以如何 推動學生學習之前，我們必須先了解一些基本的學習原理。動機的來源共有兩個不同類別，下文將簡單介紹 這兩個類別，並且反思推動學生學習可行的方法。

Intrinsic Motivation

內在動機

Intrinsic motivation is determined by internal rewards. This motivation category provides us an engaging sensation within the individual, as it is intrinsically rewarding. According to psychologist Dennis Coon and John Mitterer, we simply enjoy an activity for the sake of self-appreciation. In this respect, one can consider studying music and piano learning as an opportunity to explore and maximise our potentials.

內在動機來自內在的獎賞。因為這種動機 提供內在自發的獎勵，它會讓我們有被吸 引的感覺。根據心理學家Dennis Coon和 John Mitterer的研究，我們享受一樣活動 純粹是為了自我欣賞。在這個層面上，我 們可以視學習音樂和鋼琴為探索和盡量發 揮潛能的機會。

Extrinsic Motivation

外在動機

Extrinsic motivation is driven by external rewards. Unlike the previous category, this group of motivation appears from outside the individual. It might be money, praises or examination results.

Contrary to the example in the Intrinsic Motivation section, the motivation for instrumental learning in extrinsic motivation could perhaps be winning prizes at competitions, receiving certificates, or satisfying the parents’ requirement.

外在動機由外在獎賞所推動。跟上述的內 在動機不同，這一種動機來自外部。獎勵 可能是金錢，讚賞或者好的考試成績。跟 我們在介紹內在動機時的例子相反，學習 樂器的外在動機可以是在比賽中獲獎、領 取獎狀，或者滿足父母的要求。

Having considered both intrinsic and extrinsic motivation, anyone with a clear insight of the instrumental learning environment in Hong Kong will realise the majority of students fall in the latter group. To a certain extent, external rewards do play a part in piano learning,

考慮過內在與外在動機的分別後，相信每 個清楚瞭解香港樂器學習環境的人，都會 察覺大部份學生的動機都屬於後者。外來 獎勵對於學習鋼琴確有一定作用，而且 JULY 2015 / The Pianist

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and undoubtedly can increase students’ motivation in some cases.

Unfortunately, external rewards come with greater negative impacts than one can imagine. Mark Lepper, David Greene and Richard Nisbett pointed out in a joint psychological experiment that, students who already enjoyed a certain activity (in other words, find an activity intrinsically rewarding) will be demotivate internally by additional external rewards. If we were to apply this principle into instrumental learning, one will be in a better position to understand. For instance, taking piano examination or entering competitive festivals for a student who already love playing the piano can demotivate the student’s intrinsic motivation – a phenomenon known as the overjustification effect.

The primary goal for students to learn a new composition, for example, is to expand their knowledge or simply inherent satisfaction (intrinsic motivation); rather than learning a new composition so that students can be prepared for the next grade or diploma examinations (extrinsic motivation). Whilst external rewards may be included as part of the learning process, but what more important is to establish a correct as well as a positive motivation for learning, and stated clearly that those external rewards should never be the final goal.

“what more important is to establish a correct as well as a positivemotivation for learning, and stated clearly that those external rewards should never be the final goal.”

This is not to say extrinsic rewards are not an approach in motivating students, but it should be dealt with caution. It is worth noting that extrinsic rewards are best to apply when students have little interest in learning the piano at the beginning. These extrinsic rewards (examinations, competitions, prize money) should then be excluded in the studies once an interest has been established. Further, students are more creative when they are intrinsically motivated – a vital element in music making and piano playing. Attitude in instrumental learning can be improved by using examination as a goal or competition as an aim, but the actual quality of the performance is determined by intrinsic aspects. If students find the piano playing fulfilling, fascinating and challenging, they are more likely to have more musical creative ideas. However, the question teachers may now have is how can one develop an intrinsic motivation in their students?

“If students find the piano playing fulfilling, fascinating and challenging, they are more likely to have more musical creative ideas.”

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有時候這些獎勵的確能增強學生的學習 動機。但不幸的是，外來獎勵帶來的負 面影響比我們想像中要大。Mark Lepper, David Greene和 Richard Nisbett共同進 行的心理學實驗顯示，本來已經享受某種 活動（換言之就是覺得這項活動具有內在 獎勵）的學生會因額外的外在獎勵變得消 極。如果我們將這理論套用到學習樂器， 我們會更加容易理解。譬如說對於本來已 經喜愛彈鋼琴的學生來說，參加鋼琴考試 或者有競賽性質的音樂節可能讓他們失去 內在動機－這個現象被稱為過度辯證效 應。 學生學習一首新曲目，首要的目標是要增 長知識，或者純粹為了內在享受（內在動 機），而不是為了準備下一級別的考試或 者演奏文憑考試（外在動機）。雖然外在 獎勵可以是學習過程的一部分，但更加重 要的是要建立正確並且正面的學習動機。 同時，我們也要清楚表明外在的獎勵絕對 不應該成為最終的目標。

「更加重要的是要建立正確並 且正面的學習動機。同時，我 們也要清楚表明外在的獎勵絕 對不應該成為最終的目標。」 我並非想斷言外在獎勵不可以是推動學生 的方式，但是我們應該小心處理外在的獎 賞。值得注意的是，外在獎勵最好是應用 於學生一開始學習，對彈鋼琴缺乏興趣的 時候。一旦學生對彈鋼琴產生了興趣，這 些外在獎勵（考試、比賽、獎金）便應該 被排除在學習過程之外。而且當學生受到 內在動機的推動，他們會變得更有創意－ 這是音樂創作和鋼琴演奏的重要因素。以 考試或者比賽作為目標，可以改善學生學 習樂器的態度，但是演奏的實際質素是由 內在因素決定的。如果學生覺得彈鋼琴充 實、吸引又有挑戰性的話，他們會更有可 能產生創新的音樂靈感。可是，現在各位 老師腦海中浮現的問題可能就是：到底如

何建立學生的內在動機？

「如果學生覺得彈鋼琴充 實、吸引又有挑戰性的話， 他們會更有可能產生創新的 音樂靈感。」 推動學生 Motivating Students Indeed, developing an intrinsic motivation is a challenging task for teachers. Psychologists Mark Lepper and Thomas Malone suggested a number of factors that they consider as increasing intrinsic motivation. These are particularly useful when applying to student learning: Challenge – Students are more motivated when they pursue goals that have personal meaning that relate to their self-esteem. These challenges of course, have to be reachable and not setting tasks that are not reasonable to reach.

Curiosity – Students’ intrinsic motivation is increased when a musical composition grabs his/her attention. It is also the case when the composition stimulates the student to want to learn more.

Cooperation and Competition – Intrinsic motivation can also be improved in an ensemble situation when student gain satisfaction from working with other musicians. Although prizes at competitions are considered as external rewards, students can increase their own performance by internal competitions (comparing their performance with others).

In conclusion, it is important to remember, as a teacher, unnecessary rewards sometimes come with hidden costs. Whilst identifying the type of motivation can allow us to reflect our current teaching strategies, it can also be beneficial for students’ long-term learning and enhance their education experience.

事實上，建立內在動機對於老師來說 是個有挑戰性的任務。心理學家 Mark Lepper與Thomas Malone曾經提出一些 元素，他們認為這些元素可以增加內在 動機。這些元素應用於學生學習的時候 尤其有用： 挑戰－當學生追求關係到他們自尊心的 目標，他們會變得更加積極。當然，這 些挑戰必須是能夠完成的。我們不應設 置不合理的，不能夠達成的任務。 好奇心－當一首樂曲吸引到學生的注 意，他們的內在動機會增加。樂曲刺激 學生的學習欲望時，內在動機一樣會增 加。 合作與競爭－在合奏的時候，學生可以 透過與其他音樂人合作得到滿足，這可 以增加他們的內在動機。雖然比賽獎項 被視為外在獎勵，但是學生可以通過內 部比賽（與其他人的表現比較）改善他 們的表現。 總括來說，作為老師，我們一定要謹記 不必要的獎勵可能有隱藏的代價。分辨 學習動機的類型可以讓我們反思我們的 教學策略，也可能有利於學生的長期學 習，並豐富他們的學習體驗。

Blanc Wan 尹俊邦

Blanc Wan has established a profile as a pianist, musicologist and educator. His recitals and radio appearances have included over a hundred performances throughout Europe, Asia and North America including the Czech Republic, Germany, Hong Kong, Hungary, Italy, Spain, United Kingdom, United States and a recital in Poland to mark the 200th anniversary of Chopin’s birth in 2010. He is a Governor of the Royal Northern College of Music, the Chairman of Hong Kong International Pianists’ Association, a Grant Examiner of the Hong Kong Arts Development Council and Artistic Director of the Hong Kong International Piano Conference. He has been invited on the juries of many prestigious piano competitions in Asia including the Hong Kong (Asia) Youth Piano Competition, Hong Kong International Piano Open Competition, as well as Asia Pacific Youth Piano Competition. Educated at the University of Oxford and studied the piano at the Royal Northern College of Music, he is currently working on his PhD research at King’s College London. Blanc Wan is the 2015-2016 Edison Research Fellow at the British Library.

尹俊邦既是一位鋼琴家，亦是一位音樂學者及音樂教育家。演出超過百場音樂會及電台錄音，他亦先後到亞 洲，歐洲及北美洲舉行獨奏會包括捷克共和國，德國，香港，匈牙利，意大利，西班牙，英國及美國等地演出，更於2010年獲邀到波蘭為 蕭邦誕生200週年紀念舉行鋼琴獨奏會。他現兼任英國北方皇家音樂學院校董、香港國際鋼琴家協會主席、香港藝術發展局藝術資助審批員 及香港國際鋼琴會議藝術總監，並於2011年被列選為青年施坦威鋼琴藝術家。尹俊邦曾獲邀為多個國際音樂比賽進行評審工作，於2015年 期間亦擔任多個鋼琴比賽評委，如香港亞洲青少年鋼琴大賽、香港國際鋼琴公開賽及澳門亞太青少年鋼琴公開比賽等。畢業於英國牛津大學 及英國北方皇家音樂學院，他現於英國倫敦國王學院進行博士研究。尹俊邦為2015-2016大英圖書館愛迪生研究員。 JULY 2015 / The Pianist

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Interview with

Matti Raekallio 專訪 MR : Matti Raekallio BW : Blanc Wan

BW You studied in Finland, England, Austria and

BW 你曾經在芬蘭、英格蘭、奧地利和俄羅斯學習，是

MR It is partly coincidence, but also because the fame

MR 部份原因為是基於巧合，但也同時是因為某幾個老

of certain teachers. For example, Maria Curcio, who was my first teacher outside Finland; many of my friend heard about her and I had heard about her obviously – she was a well-known figure at the time. Therefore, I decided to start there and of course, it was a lucky decision because she was certainly worth her reputation. After studying with Maria Curcio, I sensed that I needed a certain broad background which was still not quite in my possession after my studies in Finland. I then decided to go to Vienna, which was another lucky

師的名氣，例如：瑪利亞•庫爾斯奧是我在芬蘭以外 的第一位老師。我有很多朋友都聽過她的名字，我 當然也不例外，她當時非常有名。所以我決定跟她 學習，的確，那是個幸運的選擇，因為她確實是個 名副其實的好老師。跟瑪利亞•庫爾斯奧學習過後， 當時我感覺自己需要更廣闊的視野，是我在芬蘭學 習過後還沒具備的。我便決定前往維也納進修，而 那又是另一個幸運的選擇。我當時有機會跟迪特 • 韋伯學習，是我當時正正需要的。變相維也納是我 學習過程中最重要的一個地方，比之後的俄羅斯更 為重要。在俄羅斯，我只待了一年，完成了碩士課

Russia; what made you choose those countries?

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JULY 2015 / The Pianist

什麼原因驅使你選擇這些國家?

choice. I had the chance to study with Dieter Weber, so that was exactly what I needed at the time.

Vienna turned out to be the most important place for me to study – even more important than in Russia afterwards. In Russia, I was only there for one year as a postgraduate. I very much enjoyed the concert life and it was interesting to get in contact with the Russian School; but out of all the places, I would say Vienna was the most important city for my studies.

BW What kind of impact did it give you?

MR M ost importantly, I had the contact of German

musical culture; not only through the composers or pieces that I studied or heard, but also the importance to spend time in the culture from where the music comes from. There are some connection between music and language, for example, some rhythmic connection. Those are the things that you can feel when you can actually stay in the country.

It was a valuable time; studying the culture but only the piano – that was probably the most important thing.

BW What were your teachers like? For example, Maria

Curcio?

MR Maria Curcio was intuitive and wonderfully talented

person. She had a very natural understanding of phrasing and tone colour, especially in Schubert and Chopin. She was also very knowledgeable about fine piano technique, for example, how to use finger tips. But I thought she had a remarkable talent, and her approach was very analytical; whereas Dieter Weber was slightly more inclined to ask questions about the form of the piece – concerns about the structure matters. They complement each other very well. Dieter Weber was also a fine pianist, although he did not perform. It was very impressive to see him play Chopin Etudes and Beethoven’s Hammerklavier Sonatas in lessons. That was a strong influence as well. My teacher in Russia was a typical example of the Russian Piano School.

That was probably the most important thing that I had this insight into this Russian way of seeing the music and the way of playing. All of these were an interesting combination!

BW Were there any pianists you remember hearing

in recitals as a child who made a particular impression on you?

MR There was one particular recital of Sviatoslav

Richter which changed my live. I had started to study the piano before I heard that recital. I must say I did not understand music or piano playing.

(I was a bad student in every way!) I was not interested in anything related to music; I was much more interested in other things. But that recital by

程。在俄羅斯我很享受在音樂會演奏的機會，接觸 到俄羅斯樂派也是一個有趣的經驗。但總括而言， 我會說維也納對我的學習來說是最重要的一個地 方。 BW 在維也納學習對你有什麼影響？ MR 最重要的是讓我接觸到德國的音樂文化。不單是接

觸到我學習或聽過的作曲家或他們的作品，同時重 要的是我能浸淫在當地文化，那是我學習的音樂源 自的地方。音樂和語言有一定的關聯，比如說節奏 上的聯繫。這些就是當你住在那個國家學習時才 能感覺到的。那是段寶貴的時間，學習文化和鋼 琴－－對於當時的我來說是最重要的事情。 BW 你遇到的老師都是怎樣的？比如說，瑪利亞•庫爾斯

奧？ MR 瑪利亞 • 庫爾斯奧是個睿智、非常有天賦的人。她

對於分句法和音色有種與生俱來的理解能力，尤其 是對於舒伯特和蕭邦的作品。她也很熟悉鋼琴的細 微技巧，譬如如何使用指端彈奏。我認為她有非一 般的天賦，而她的教學法非常著重樂譜分析。而迪 特•韋伯也是一名優秀的鋼琴家，儘管他沒有公開演 出。看到他在課堂上彈奏蕭邦的練習曲和貝多芬的 《第 29 鋼琴奏鳴曲》讓我印象很深刻，也對我有很 大影響。我在俄羅斯學習時的老師是個俄羅斯樂派 的典型例子。重點是這可能說明了為什麼我看待和 彈奏音樂的方式比較靠近俄羅斯樂派。以上的老師 加起來會是個有趣的組合！ BW 有沒有哪些鋼琴家是在你小時候聽過他們演奏而特

別讓你印象深刻？ MR 我特別記得有一場斯維也拖斯拉夫•李赫特的獨奏會

改變了我的生命。我聽這一場獨奏會之前已經開始 學鋼琴了。我得承認那時我不懂什麼是音樂或是彈 鋼琴，（總的來說，我當時都是個壞學生！）我對 關於音樂的一切都沒興趣，那時我對其他事物更感 興趣。不過李赫特的那場獨奏會完全改變了我，讓 我感受到鋼琴演奏所帶來情感上的震撼。我那時不 知道他當時彈些什麼，或者他如何演奏才能達到如 此效果，甚至到現在我也不完全明白李赫特，因為 他總是有點神秘，也很難懂。當然在那時候，那場 獨奏會是個讓我激動的情感經驗 ，就像我腦中對彈 鋼琴熱情的機關給打開了。

「…李赫特的那場獨奏會完全改變了我，讓我感受到鋼琴 演奏所帶來的情感上的震撼…」 BW 那是多久以前的事？ MR 那 是 在 1 9 6 8 年 的 時 候 ， 就 是 李 赫 特 最 輝 煌 的 時

期－－那時期他身心靈都最有力。他表演曲目的質 和量都是最鼎盛。 BW 你當年十五歲？ MR 那時我就快14歲，聽李赫特演奏會時還是13歲。

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Richter was a complete turnover to me because it was an experience which showed me what kind of emotional impact piano playing can have. I did not have the tools to understand that the things he was doing at the time, and how he achieved those. I still wouldn’t understand because Richter was a kind of mystery and very difficult to understand. Certainly at that time, it was an overwhelming emotional experience. It was like a mental trigger for a passionate piano playing inside me.

“…that recital by Richter was a complete turnover

to me because it was an experience which showed me what kind of emotional impact piano playing can have…”

BW When was that?

MR That was in 1968; basically Richter’s best period –

a period when he was most powerful mentally and physically. His programme was just magnificence in quality and quantity.

BW So when you were 15?

MR I was turning 14 actually. I was 13 when I heard that

Richter recital.

BW What did he play?

MR He played a Mozart Sonata in C major, Beethoven’s

Eroica Variation, then after the intermission, Schumann’s Symphonic Etudes. The encores were Chopin Nocturne in F major, op 15 and Debussy. I remember it as if it was yesterday, it was incredible.

BW You have played concerts across the globe; what

has been the most memorable moment you have given? Can you give me one or two examples?

MR I would say the concert in Tokyo when I played

the all Scriabin Sonatas in one concert (It was in three parts) – that was one of my most memorable concerts. Because when you do something like that you kind of dive into this world of a composer. After that you feel differently about music and about other things. It was an intensive experience. On the other hand, when I first played the Prokofiev concerto with orchestra in Helsinki, it was very soon after the birth of my daughter. It was very emotional time and because of that, or maybe, because of the piece and Prokofiev. It was a very special experience.

From then, I started a special connection with Prokofiev which I had many years after that concerto event. But indeed, that third concerto performance was a triggering event.

BW What inspiration do you get from Prokofiev?

MR Well, there are many things. I cannot say that I

particularly like the personality of Prokofiev. He was a difficult person, but the music is different.

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BW 他彈了些什麼？ MR 他彈了莫札特的《C大調奏鳴曲》、貝多芬的《英雄

交響曲變奏》，中場休息之後彈了舒伯特的《交響 練習曲》。安可是蕭邦的《F大調夜曲》作品15和德 彪西。我還記得很清楚，就像昨天發生一樣，那是 一場很精彩的演出。 BW 你曾在世界各地表演過，哪一次演奏會令你最難

忘？ 可以給我一、兩個例子嗎？ MR 我會說是我在東京那場彈奏了所有斯克里亞賓的鋼

琴奏鳴曲的演奏會（分開三部份）－－ 那是我最難 忘的一場演奏會之一。因為如果你這樣做的時候， 你可以浸淫在作曲家的世界裡。之後你對音樂和其 他事情都會改觀。那是個強烈的體驗。同時，在我 第一次跟赫爾辛基樂團合奏普羅哥菲夫的協奏曲 是在我女兒出生後沒多久的事情，所以可能因為是 這樣讓我很感動，或是因為普羅哥菲夫和他的協奏 曲。那次是一個特別的經驗。自此，在演奏那首協 奏曲之後的很多年，我開始對普羅哥菲夫有種特別 的聯繫。但確實演奏那場第三協奏曲是誘發點。 BW 普羅哥菲夫給了你什麼啟發？ MR 嗯，有很多啟發。我不能說我特別喜歡普羅哥菲夫

的性格，他是個難搞的人，不過他的音樂不一樣。 經常有這種情況：我們能夠分別作曲家跟他們的作 品。以普羅哥菲夫為例，他的音樂充滿能量、幽 默、機智和一種直接性，不會矯情，就像他本人的 性格一樣－－這就是為什麼我喜歡普羅哥菲夫。

「…以普羅哥菲夫為例，他的音樂充滿能量、幽默、機智 和一種直接性…」 BW 尤其是他的晚期作品 MR 各個老師有完全不同的教學模式。我永遠不會忘記

是的，但他的早期作品也是如此。較早期的作品其 實有一種強大的勇氣，而這是他晚期作品沒有的。 當然晚期作品更有深度，例如他的第八鋼琴奏鳴曲 是非常的複雜。但同時，比如說他的第二鋼琴協奏 曲擁有一種固有的力量，而這一種力量是較少體現 在他晚期的作品。 BW 那「浪漫主義」呢？你覺得有出現在普羅哥菲夫的

音樂作品嗎？ MR 確實有。某程度來說，我們可以說他的第二鋼琴協

奏曲有自己的一種浪漫。我們應該定義什麼是「浪 漫主義」，但如果我們說的是以表達深刻情感、描 繪雄辯有力的經驗，而有意識地集中在傳達情感的 震撼，如果我們所指的「浪漫主義」是這樣的話， 那這首第二鋼琴協奏曲確實是一首浪漫派作品。儘 管它並不是在浪漫時期裡創作的，但它的創作手法 在那層面來說是屬於浪漫派。 BW 很多人不同意，並認為他的早期作品－－比如說他

的鋼琴奏鳴曲，作品1－－並不浪漫，但它其實非常 浪漫。

It is always the case; we can make a difference between the music and the composer. In the case of Prokofiev, there is an incredible energy, humour, wit, and the kind of directness in his music; making no excuses, just being himself – this is the thing which I like about Prokofiev.

“In the case of Prokofiev, there is an incredible

energy, humour, wit, and the kind of directness in his music …”

BW Particularly in his later works.

MR Yes, but also in the early works. The earlier ones

actually have a tremendous courage, which he partially did not have in his later works. The later works of course, have more depth, for example, his eighth Sonata – very complex. But there is something, say, his second piano concerto which is so elemental in the force. It was actually a great experience. I think that kind of power he seldom could achieve in his later works.

BW What about the word ‘Romanticism’? Do you think

it is in Prokofiev’s music?

MR It definitely does. In a way, we could say the

second piano concerto is a very romantic work in its own way. We should then define Romanticism, but if we talking about dealing with great emotion, depicting forceful human experience and doing that very conscious way which concentrates on the emotional impact. If we deal with romanticism in that perspective, so that second concerto is absolutely a romantic work. Although it was not composed in the Romantic period, the approach in that sense is romantic.

BW Many have disagreed and considered his early

work – op 1 sonata for example, not romantic. But it is incredibly romantic.

MR I think it is just as romantic as many Rachmaninoff’s

work. If we equal romanticism and emotional quality, it is a dangerous equation. But if we go in that direction, we can speak of Prokofiev as a romantic composer. We should perhaps define it differently, because Prokofiev has so much which separates him from many typical romantic composers, say, Schumann or Rachmaninoff.

BW How do you memorise a piece? Do you memorize

during the process of learning?

MR I very much like to memorise as early as possible

in the process of learning. I start the process of learning by memorising. I do it both at the piano and away from the instrument by analysing the music. My memory is very much structural and I try to rely on that as much as possible. I have to know how a piece is built and the kind of harmonies

MR 我認為它就像拉赫曼尼洛夫的很多作品一樣浪漫。

如果我們將情緒和浪漫主義畫上等號，這條公式很 危險。當如果我們往這個方向繼續下去，我們可以 說普羅哥菲夫是個浪漫派作曲家。我們可能要為浪 漫主義下另外一個定義，因為普羅哥菲夫有很多特 色，讓他跟很多典型的浪漫派作曲家，例如舒曼或 拉赫曼尼洛夫，有不一樣的地方。 BW 你是如何背樂譜的？你是在學習的過程裡一邊記憶

嗎？ MR 我比較喜歡在剛學習的過程便開始記憶樂譜。我的

學習過程以記憶為開首，我在鋼琴前練習記憶，也 會在離開鋼琴時靠分析樂譜來記憶。我的記憶都是 結構性的，而我嘗試更多依賴這種記憶法。我必須 知道一首樂曲是如何發展，並且熟悉和聲的類型， 還有和聲的發展和向性。這是我記憶方法裡最重要 的法則。在解決技術層面的問題，我也會用同樣方 法。我們說的技術層面的問題其實是音樂上的問 題，如果你雙手都能彈奏的話。要先了解音樂，才 能幫助你了解技巧。 BW 你會不會都叫你學生這樣背樂譜？ 還是你認為這是

個人的方法嗎？ MR 這個是很個人的方法。對學生 A 來說有用的方法，

未必對學生 B 有幫助。我嘗試盡量讓我的教學方法 保持靈活。但有時候那是有共同的規律的，例如將 問題分成小段有助解決問題，當然要將這些小段代 入背景來討論。這大概就是我的教學方法，而這種 方法可以看起來很不同，例如，有位來自南韓在 茱莉亞學院學習的學生，她有很多好技巧，但她對 多聲部的控制有待加強。那時候，她在練習蕭邦的 《船歌》。我要求她把樂曲背下來，她要彈所有的 聲部，除了高音部－－最高的那行音符不彈，從頭 到尾也是如此。她練習了一個星期之後有驚人的進 步。這一種對外聲部和低聲部的掌握能讓你對樂曲 有更深刻的瞭解，是你一次過彈奏樂譜上所有音符 時並不能帶給你的。這是一個我喜歡的教學法例 子。 BW 除了分析樂譜之外，還有其他幾種記憶方法，但肌

肉記憶法是最危險的。 MR 是的，你說的對。但我開始學一首作品時所套用的

指法也是一種肌肉記憶，同時也是分析樂曲的過程 之一──訓練雙手的動作。有意識的分析有助記 憶，而在做分析的同時你也有用到肌肉記憶。 BW 那是你研究範圍之一，是嗎？ MR 沒錯，我的研究重點是十九和二十世紀鋼琴家和作

曲家的指法策略。我開始時先分析了貝多芬自己的 指法。我的研究和演奏大都是圍繞著貝多芬。我也 跟英國心理學家做過一些研究是關於鋼琴家在視譜 演奏時如何選擇指法。 BW 真有趣！貝多芬明顯在他的鋼琴奏鳴曲作品2和作品

53加上自己的指法。

MR 是呀，他有！

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there are, where and how it is going. That is my most important method of working. I use the same approach in solving technical problems as well.

What we call technical problems are actually musical problems, provided the hands are working.

To understand the music, it also helps you to understand the technique.

BW Is that how you ask your student to memorise it?

Or do you think it is an individual approach?

MR It is very individual; one method may be good for

student A, not so good for student B. I try to vary the approaches as much as possible. However, there are some common patterns; for example, the tendency to cut things into very small units in order to solve the problems. Of course, then to put the units into the full context. That is very much my working approach. This approach can look very different. For example, there is a student at Juilliard from Korea, who has many good things but her sense of polyphonic could still be better developed. She was playing Chopin’s Barcarolle at the time; I asked her to memorise the Chopin, in a way that she plays everything, but the soprano voice – leaving out the highest line, and play it from the beginning to the end. She did it in a week and her playing became dramatically better. The kind of control which you get only focusing on the outer line and the lower line, give you so much insight than actually playing everything together. That is just an example of how I like to work.

BW Apart from analysing the music, there are a few

other memorisation methods, but muscular memorisation is by far the most dangerous.

MR Indeed, you are correct. But I start learning a piece

by putting in fingering and this is also muscular memorisation. This is also part of analysing the piece – learning the movement of the hands. Doing that consciously also helps with memorisation, and by doing that you are also using the muscular memory.

BW That’s part of your research isn’t it?

MR That’s right. My research focussed on fingering

strategies in 19th century and 20th century of the pianists and composers. I started by analysing Beethoven’s own fingering. Beethoven was in my work both in research and in performance in general. I also did some research with some British psychologists on how pianists choose their fingerings, when they sight-read things.

BW Very interesting! Beethoven of course, inserted his

own fingerings in his Sonata op. 2 no. 2 and op 53.

MR He certainly did!

BW But the question is whether these can be carried 22

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BW 但問題是這些指法可否適合使用在二十一世紀的現

代鋼琴，比如說滑奏 ！ MR 你說的對！你說的是第一個問題，第二個問題是：

彈奏那些滑奏時能不能保持一致的水準？那是非常 困難的，也取決於鋼琴。亞努灌錄了這首鋼琴奏鳴 曲，他說：「如果場地裡的鋼琴不適合，而音樂會 曲目單裡又有鋼琴奏鳴曲作品 53 號，我就換曲目單 好了。」 BW 不是換另一部鋼琴？ MR 不會換另一部鋼琴！他堅持用那套指法彈奏那些滑

奏。如果鋼琴琴鍵是比較輕的話，你是可做到的， 但如果琴鍵是比較重的，那幾乎沒辦法彈奏。 BW 亞瑟•斯納貝爾彈了貝多芬所有的鋼琴奏鳴曲，但作

品2第二首他選擇不彈了，因為他沒辦法用貝多芬的 指法！

MR 是呀。 BW 有沒有一些流程是你必須做的？如果在獨奏會或音

樂會前感到緊張，你會怎麼做？ MR 我發現對我來說，解決緊張的最好辦法是確保你對

要演奏的曲目非常熟悉，熟悉到你不會感到緊張， 這就是我盡量多用的深度記憶法。不只是記住我要 彈的樂曲，也要記住我的演繹方式，我會嘗試有意 識的記憶該首音樂作品，以致我能有一個清楚的 計劃，到底哪個小節要怎樣處理和我要如何到達那 裡。我不是那種會即興演奏的鋼琴家。即興演出是 很好，但我不想在我演奏的時候即興。我希望可以 盡量小心計劃。

「…解決緊張的最好辦法是確保你對要演奏的曲目非常熟 悉，熟悉到你不會感到緊張…」 BW 那麼演奏會的流程呢？ MR 我通常會彈一些熱身練習，大概 10 到 15 分鐘左右，

這些練習讓我可以針對幾乎所有的鋼琴技巧問題 BW 你平常在演奏會之前會小睡片刻嗎？ MR 我不一定要，當如果可以我還是會睡一會。但不一

定都有機會，因為通常演奏會的行程都排的很緊 密。但如果可以的話，那是件好事。我在睡覺時可 以接觸到潛意識的靈感。我說我希望可以計劃所有 事情，意思是我喜歡去計劃，但並不是所有事情都 可以計劃。

out in the 21st century modern pianos. The glissando for example!

MR Absolutely! That is the first question, and the

second question is: can it be carried out in such a way that the glissando is maintained? It is extremely difficult and certainly depends on the piano. Arrau, whom recorded the Sonata, said: ‘if the piano is not cooperative and has the op. 53 Sonata on the program, I would change the program.’

BW Not changing the piano?

MR Not changing the piano! He insisted on the fingering

and on the glissando. You can do that if the piano is very light, but with a very heavy piano it is almost impossible.

BW Arthur Schnabel who played all the Beethoven’s

Sonatas, but op. 2 no. 2 was the one he didn’t play because he couldn’t follow the Beethoven’s fingering!

MR Indeed!

BW Is there a routine that you always follow? What

do you do if you are nervous before recitals and concerts?

MR I have found for myself that the best way to get rid

of nervousness is to make sure that you know the pieces so well that you don’t have to be nervous, which is the intense memorisation which I tried to use as much as possible. Not only the piece, but also the way I play the piece, I try to memorise the composition consciously, so that I have very clear plan of what I want to do in each bar and how I want to get there. I am not one of those pianists where I leave everything to improvisation. Improvisation is nice, but I don’t want to do it when I perform. I would like to plan as carefully as possible.

“…the best way to get rid of nervousness is to make

sure that you know the pieces so well that you don ´t have to be nervous …”

BW How about concert routines?

MR I do have some exercises which I usually play; it is

only 10-15 minutes, so that I get to cover most of the pianistic technical issue.

BW Do you normally sleep before your concert?

MR I don’t have to, but I like to sleep before if I can. It is

not always possible because sometimes the travel schedule is very tight. But if I can, that is a very good thing. I somehow get to contact unconscious ideas when I sleep; when I said I wanted to plan everything, I would like to plan everything that can be planned, but not everything can be planned.

Matti Raekallio Matti Raekallio has established himself as a prominent concert pianist with a huge repertoire.

His concerts and recordings, notably the three-CD set of the complete Prokofiev Piano Sonatas, for the “Ondine” label, have been widely praised. He is also a deeply committed teacher, and many of his students have won world-class competitions.

After studies in Finland, in England with Maria Diamond Curcio, in Austria at the Vienna Academy of Music with Dieter Weber and in Russia at the Leningrad (now St. Petersburg) Conservatory, Mr. Raekallio made his American debut in 1981 at the Carnegie (Weill) Recital Hall. 1983 saw him back in the United States on tour as soloist with the Helsinki Philharmonic Orchestra, and he spent 1984–85 as visiting artist professor at Western Michigan University. Since then, he has made regular tours of the U.S.A., including performances with several American symphony orchestras and solo recitals.

In his recitals he often concentrates on monographic programs with works of a single composer. He has performed, for example, the complete Transcendental, Paganini and Concert Etudes by Liszt in a two-recital set. A central part of Mr. Raekallio’s solo repertoire is the cycle of the complete 32 Beethoven Sonatas, which he has presented eight times altogether, including a U.S. performance at the first Irving S. Gilmore International Keyboard Festival in 1991. There he performed the full cycle in a sold-out, eightconcerts-in-eight-days marathon, broadcast live in the U.S. by National Public Radio. His Tokyo debut in 1999 consisted of all 10 Scriabin Sonatas in one concert, a feat Mr. Raekallio repeated later that year in Berlin. In addition to his extensive solo repertoire, Raekallio has given performances of 62 piano concertos. These include all of Beethoven, Brahms, Rachmaninoff and Prokofiev, as well as rarities like the concerti by Busoni, Szymanowski and Lutoslawski. He has recorded many of these works.

In 1994, Mr. Raekallio became full professor at the Swedish Royal College of Music (Kungliga Musikhögskolan) in Stockholm. Currently he is a tenured full professor at the Sibelius Academy in Helsinki and at the Juilliard School of Music in New York. Mr. Raekallio’s class there includes several top prize winners, among them the First Prize laureates in Leeds, AXA Dublin, London, Vienna (Beethoven), New York (Artists International), and Budapest (Liszt-Bartók). He has been a juror in several international competitions, including Shanghai, Vienna (Beethoven), Tokyo (PTNA), the Selection Committee of the “Gilmore Artist” as well as the American Pianists’ Association Awards in U.S.A, and the “Arthur Rubinstein in Memoriam” International Competition in Poland. Mr. Raekallio has given master classes in his home country as well as in Germany, Austria, Israel, and in the United States.

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Expressing our Emotions:

A pianist's reflection 傳達情感——

一個鋼琴手的自白 There are many areas of concentration in a music school or a music department in a university. For the undergraduate music student, the most common degrees are performance, music education, music history and literature, and music theory and composition. All the degree programs require the choice of a “major instrument.” I am a strong advocate of all undergraduate music students being the best performers possible, regardless of the area of concentration. 鋼琴發出的聲音，主要經過鋼琴擊弦中的擊弦槌撞擊在弦線 上，使弦線產生共震而形成的。音板的作用是使琴弦的共震放 大，令到同一組的琴弦經過音板，產生不同的音色。音板的制 造過程，由專業的技術人員選用上好的木材，再經過數年至十 多年的養木過程，使木材的含水量 ( 濕度 ) 變得穩定，減低音色 改變的機會。

What is the expression of music? When an artist performs, the emotion(s) that the audience feel is called ‘music expression’. 何謂音樂的表現力呢？音樂的表現力就是觀眾在演奏者表演時所感受到 的情緒。

A performer is the mediator between the composer and the audience. In order to know how one can express through the printed score, this is an endless challenge for any performers. 演奏者是作曲家和觀眾之間的橋樑。對演奏者來說，如何呈現樂譜承載 的情感無疑是永無止境的挑戰。

So, how can we bring out the composer’s idea to the audience? 那麼，演奏者怎樣才能向觀眾傳遞作曲家的想法呢？

It should be a habit that one has to research on the composer one is playing, and study how a particular idea of the composer can be expressed through our instrument. 每一位表演者都應該養成習慣，研究自己演出曲目的作曲家，鑽研如何用樂器來傳達作曲家的個別想法。 24

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First of all, we have to understand the intention of the piece, from the background of the composition, through their personal life, to the history of music of that period of time. We then look into the markings in the music such as musical indications and dynamic markings. For example, the different dynamic markings such as piano, forte, can convey various emotional expressions in relation to the piece. 首先，演奏者要了解作品背後的理念，熟悉作曲家個人生活及創作背景、以至作品的創作時期。下一步就是解讀樂曲上 音樂記號及強弱記號等，例如弱奏和強奏就在不同作品中傳達了各種情感。 Now, I would like to take the piano marking as an example and share a personal experience with you: 我想以弱奏 記號為例，跟讀者分享一些個人經驗： I recall a discussion I once had with my teacher, Professor Kim at Yonsei University, the subject of discussion was dynamic markings, in this case, piano. He stated that piano not only means 'to play softly', but also sometimes it implies 'to express more'. 我記得有一次跟我在延世大學的老師金教授討論強弱記號的處理。當時 的討論就是關於強弱記號裡弱奏，金教授表示，弱奏不僅僅代表要「輕 力彈奏」，有時還意味要「更抒情」。

From another instance, one can see so many pianos in Beethoven’s sonatas. But not all pianos imply the same level of softness. One can compare this with the different emotions we experience every day.

The quality of piano in minor keys can imply emotions/images such as sadness, loneliness, longing, whisper, and disappointment. Meanwhile, we may refer qualities like joyfulness, innocence, purity, joke and happiness as piano in the major keys. 另一個實例就是貝多芬的鋼琴奏鳴曲，他的作品中有不少弱奏記號，然 而這些記號並不是代表著相同的柔和程度。我們可將這情況與日常生活 中經歷的各種情緒相比。在小調中弱奏可以傳達出悲傷、孤獨、渴望、 低吟、失落等情緒或畫面。同樣的記號在大調中卻可以代表歡樂、率 真、純潔、開玩笑和幸福。 In addition, more different emotions can be expressed through the different harmonies, melodies, and phrases based on the composer's notations. Moreover, the tone production is definitely important to help bring out the musical emotions from the score. 再者，情感的起伏變化還能通過作曲家在記譜時使用的不同和聲、旋律、樂句來展現，而音色對於釋放音符中的感情也 扮演相當重要的角色。 Johannes Brahms is a great example here; he was a renowned Romantic artist who only fell in love with one woman, Clara Schumann, the wife of his teacher, Robert Schumann. His Intermezzo in A major Op. 118, No.2, was one of his later works, is based on a simple and beautiful melody, which motivates an image of a wisp of tears in smile. This melody sings with passion, warmth and softness, but it sometimes arouses empty loneliness and solitude. These contrasting sections represent the inner conflict he felt for Clara. 約翰內斯•布拉姆斯就是個好例子。他是享負盛名的浪漫派音樂家，愛上了老師羅伯特•舒曼的妻子克拉拉•舒曼。布拉姆 斯晚期的作品之一《A大調間奏曲》作品118第二號，由簡單而優美的旋律組成，讓人聯想到微笑垂淚的畫面。樂曲旋律 富於熱情、溫暖、輕柔，卻又時而流露出寂寞空洞和孤獨之苦。這些段落形成的強烈對比正正反映出克拉拉為他帶來的 內心掙扎。 JULY 2015 / The Pianist

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When I heard Brahms’ Intermezzo being play by one of my colleagues, I was under the impression that she has encountered a difficult life experience in order to have such influence in the way she plays. When I ask one of her close friends about recent changes in her life, the response was exactly as I thought – that her romantic relationship has come to an end, and her friend was surprised to discover that I sensed that just from the way she played the piece.

From this example, it is clear that music can convey emotions accurately; I was able to feel a deep sadness from her interpretation, this, perhaps, might be a similar kind of sadness/emotion which Brahms might have experienced. When the audience can experience the same emotional journey as the performer, I consider the performance as successful one; and as far as the music is concerned, her playing showed that she understood the composer’s emotional state.

Expressing our emotions should never be viewed as a difficult task. Composers are human beings too – they too must have felt the same emotions in order to write the music they have written. 當我聽到一位同事彈奏布拉姆斯間奏曲時，我就感覺到這位同事最近出現了生活上的難題，以致影響到她的琴音。後來 我向她的好友問起她近況時，才證實了自己的猜測──原來這位同事最近分手了。她的好友對於我單憑琴音就有所察覺 感到驚訝。這個例子清楚證明音樂能準確傳遞情感，我能從同事對樂曲的詮釋中感受到深刻的悲傷，這份傷感也許跟布 拉姆斯當年的感受相似。對我來說，如果觀眾能體會到演奏者的情感歷程的話，演出就算成功。而在演奏方面，同事的 演繹顯示出她能理解作曲家的情感狀態。傳達情感不應該被視為難題。作曲家也是人──他們肯定也是在同樣情緒的激 發下完成創作。

“Music should strike fire from the heart of man And bring tears from the eyes of woman.” - Beethoven 「音樂應當讓男人燃起心裏那團火焰 -貝多芬 讓女人淚珠滾落眼眶。」 As Beethoven has pointed out the power of music and the main purpose of music are to live out our emotions. Communicating the composers’ intentions through our emotional experience should always remain as our primary goal as a performer. 就如貝多芬所說，音樂的力量和目的在於抒發感情。演奏者應該以個 人情感經歷來演繹作曲者的創作目的，並時常以此為首要目標。

MiYeon Lee

Miyeon Lee has appeared as a soloist and chamber musician on major concert stage throughout the Europe, Korea.

As a soloist, Ms. Lee has worked with the KBS Orchestra, Seoul Philharmonie Orchestra, Suwon Philharmonie Orchestra, Porto Radio Orchestra, Wallonie Chamber Orchestra, Brussel National Orchestra at Palais des BeauxArts, Ciudad de Granada Orchestra at Theater " Infanta Leonor" de Jaen ,das Sinfonie Orchestra Berlin at Berlin Philharmonie, Berlin Symphoniker in UDK Konzertsaal, and Jassy Philharmonie Orchestra at the Megaro Athens Hall.

Ms. Lee has won grand prizes from the Geneva International competition, the Maria Canals International competition, the Sydney International Piano Competition, as well as the Queen Elisabeth International Competition in Belgium. Ms. Lee is currently an Assistant Professor at Yeungnam University in Korea.

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私授鋼琴 樂理 視聽 伴奏 Piano Lessons/Accompaniment: all levels/ages; Theory/Aural to grade 8 Experienced, bilingual private tutor with FRSM, BA(Hons.) Music, AMusTCL (Causeway Bay) 60767454 / misschiu.piano@gmail.com 26

JULY 2015 / The Pianist

， 要 需 己 如何按自 ？ 琴 鋼 的 適 合 擇 選

need?

How to

r u o y o t o n a i pick the right p

選擇合適的鋼琴，在初學者至演奏者也是非常重要的決定。 錯誤的選擇，不單單影響金錢的浪費，與其他不同的樂器合奏時的音準和初學者對鋼琴的興趣也會因著鋼琴 的好壞而受影響。依以往的鋼琴調音工作經驗，經常會遇到其中兩種情況︰ Picking the right piano is a crucial decision to be made - regardless of being a beginner or a professional.

A wrong choice not alone lead to waste of money, but also affect the intonation when playing with other instruments; beginners' interest toward piano playing may as well be affected by the quality of the piano. From my past experience in piano tuning, I often encounter the two situations as follows:

個案一︰ 有些初學階段的客人，未曾接觸過鋼琴。往往會接受由親友送出的鋼琴使用。當把鋼琴送到家裡在第一次鋼琴檢查和調 音時，經常會發現，那一台鋼琴已經到了退役的年齡。使會出現調音釘過鬆，音板斷裂，琴膽老化等等。直接令鋼琴的 音準和觸鍵感不能到達標準。令到花費在鋼琴的運送和調音費用，白白的浪費了。

Case one: This may be the first encounter of piano for these clients, who are beginners. These beginners often receive second handed pianos from their relatives. After getting the piano home and have it being tuned for the first time, the piano tuner often discover problems such as loosen tuning pins, broken sound board or aged plate. All signified one fact -the piano is about time to "retire". These problems would directly affect the pitch and touch of the piano, hence could it not reach the standard. Therefore, the money spent on transporting and tuning the piano is wasted.

個案二︰ 也有初學階段的客人，為了小孩有合當的學習，也會購買一台全新演奏級 級數的鋼琴讓小孩健康的學習。不過，也有小孩在學習鋼琴一段日子後對 鋼琴的熱誠減退，導致暫停學習。令剛買來不久的演奏級型號的鋼琴浪費 了，甚至閒置在家裡數年。

Case two: Case two: There are as well clients, whose children have just started learning piano. They therefore would purchase a brand new piano that is good for diploma level solely for their children to practice on. Yet, after learning for a while, some would soon lose interest in piano playing, and eventually stop learning. Thus, the newly purchased, superb piano is wasted and lie idle for years.

JULY 2015 / The Pianist

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當讀者看到以上兩種的情況出現，便會認同接自己的需要，選擇合適的鋼琴是必要的。以下再為大家簡略鋼琴的各種型 號如何符合讀者的需要，從而選擇。現今鋼琴一般分開兩大種︰直立式鋼琴和三角鋼琴。 You may find the aforementioned situations familiar, hence you have to agree that it is essential for one to pick the right piano. I would now roughly introduce you to different types of piano to help matching your need with the right piano. Piano nowadays can be classified into main stream: upright piano and grand piano.

直立式鋼琴會以它的高度來作鋼琴等級來分別。一般由109(CM)到121(CM)的鋼琴會是入門級的鋼琴。 適合於初學階段的用家。121(CM)的鋼琴更是大眾所熟悉的U1型號鋼琴。而126(CM)到131(CM)的鋼琴則是演奏型的鋼 琴。它們直立式的設計，可以方便安置在香港迷你的家居和學校中的課室。他們的琴膽設計會比入門級的鋼琴更接近三 角鋼琴。有一些鋼琴品牌，會把三角鋼琴的一些配件選用在其中。 Under the category of upright pianos, the quality of the upright pianos are classified through their heights. Those suit beginners would be ranged from 109 cm to 121 cm tall. Among all, the most popular model is the U1, which is 121 cm tall. For those ranged from 126 cm to 131 cm are upright pianos which are good for performing . Designed upright, they could easily fit in Hong Kong's petite households and schools' classrooms. These pianos, compare to those designed for beginners, have a design that are more similar to the grand piano. Some brands also adopt parts for grand piano when building these performance use upright pianos.

三角鋼琴則會依它們的尺寸和不同品牌的準則，來定議等級的。5'10(尺)到5'80(尺)一般是用於家裡/考試場地的演奏型 鋼琴。而6:10(尺)以上的鋼琴使是頂級的鋼琴型號，通常會在大型商場，大會堂，演奏廳和音樂學校出現。 For grand pianos, both size and brands are taken into consideration when evaluating its quality. Those from 5'10 to 5'80 are normally designed for domestic or examination use; whereas those over 6'10 are the top models of pianos.

You could normally encounter them in large shopping malls, grand halls, concert halls and music schools.

盼上述的資料與本人的分享，能幫助讀者能了解，那一類鋼琴合適自己的需要。最後也加上一樣建議。若讀者需要選購 一台二手鋼琴或接受贈送的鋼琴時，也可先尋找鋼琴調音師的意見和檢查。因為鋼琴調音師是最熟悉鋼琴內外的狀態。 I hope the above information and my sharing would help you figure out which kind of piano would better suit your need. One last suggestion -- If you are to buy or receive a second-hand piano, it is always a good idea to look for advice from a piano tuner, as when it comes to condition of piano, they know best.

Henry Wu 胡國安先生 Henry Wu has been engaging in the piano industry for over thirty years.

Being the first non-Japanese student, he graduated from the Yamaha Tuning Institution, and obtained A grades in all disciplines in the Concert Grand Piano Course, including tuning, regulation and voicing etc. Apart from providing piano technical support, Mr Wu has trained hundreds of piano technicians in his piano workshop. Some of which have been appointed as piano technicians at the Steinway & Sons Company in Shanghai, China. 胡國安先生從事鋼琴調音工作超過三十年，曾遠赴日本YAMAHA調音學院深造，是首位非日本學員於 CONCERT GRAND PIANO Course 考獲全A級成績，包括調音（Tuning)、調整（Regulation)、整音（Voicing)等專業技術。 除提供鋼琴技術支援外，胡先生更開設亨利鋼琴工作室從事技術培訓工作，先後培訓出過百技術人員，部分更被中 國（上海）Steinway & Sons 公司取錄為鋼琴技師。

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JULY 2015 / The Pianist

Recording Review REC

錄音專欄

CD Review of

Tchaikovsky’s The Seasons and Children’s Album Pianist: Boris Petrushansky 唱片評論︰

柴可夫斯基的《四季》及《兒童鋼琴曲集》 鋼琴演奏家︰鮑里斯‧彼得魯尚斯基 Searching online for recordings of Tchaikovsky’s piano music is likely to result in being presented with a seemingly endless list of recordings of his first piano concerto. If you can bear to scroll through the pages of these recordings then you may be rewarded with intermittent examples of Tchaikovsky’s music which was written for solo piano. Boris Petrushansky has recently recorded two of Tchaikovsky’s solo piano works: The Seasons and Children’s Album. Both of these compositions comprise a collection of pieces in a similar format to the collections of Schumann and they provide a glimpse into the relatively unexplored world of Tchaikovsky’s solo piano works.

Tchaikovsky

當你於網上搜尋柴可夫斯基鋼琴樂曲的唱片時，搜尋結果很有可能出現的是一張看似無窮無盡的 清單，列滿了他《第一鋼琴協奏曲》的唱片錄音。假若你願意一頁頁翻過這些搜尋結果，間中可 能會發掘到一些柴可夫斯基為鋼琴獨奏所創作的樂章。而在最近鮑里斯．彼得魯尚斯基灌錄的唱 片中，收錄了柴可夫斯基其中兩首鋼琴套曲：《四季》及 《兒童鋼琴曲集》。兩組鋼琴套曲均由 多首樂曲組成，結構與舒曼的套曲作品相近。通過這兩組套曲，你將可一窺柴可夫斯基較鮮為人 探究的鋼琴獨奏作品世界。

The Seasons, Op. 37bis, is a series of twelve pieces which were first published one after the other at intervals of one month to coincide with the different months of the year which they represent. In addition each individual piece has something more specific attributed to them such as “Carnival” in February, “Song of the Lark” in March, and “The Harvest” in August. One of the challenges of interpreting a collection of pieces such as this is seamlessly switching between the different sound worlds of each piece whilst maintaining an overall style, which is something that Petrushansky does well. From the outset Petrushansky demonstrates his musicality in January (By the Fireside) with expressive playing and subtle phrasing which contrasts with his quick fingers and crisp articulation in February (Carnival) and the other lively pieces. 《四季》作品37bis共由十二首樂曲組成，而在印刷首次出版時，將每首樂曲的出版時間相隔一個月，以求每首樂曲都可與其 代表月份互相呼應。除此之外，每首樂曲都有其專屬的特別主題，例如代表《二月》的「狂歡節」、代表《三月》的「雲雀 之歌」以及代表《八月》的「豐收之歌」。要將這樣一組十二首的套曲詮釋演奏得宜，其中一個挑戰是如何不露痕跡地游走 於每首樂曲裡的不同音律，卻又同時保留連貫的演奏風格。而彼得魯尚斯基的演奏則可完全達到以上的要求，並表現出他的 音樂天賦：在演奏《一月: 爐邊》時，彼得魯尚斯基的彈奏相當富有感情，分句細膩；在演奏《二月: 狂歡節》 及其他充滿節 奏感的樂曲時卻是另一個對比，他的指頭靈巧，觸鍵乾脆明快。 Petrushansky' s command of melodic lines and polyphony is clear throughout and is particularly noticeable in gentler moments such as in October (Autumn Song) and in what is probably the most famous piece of The Seasons: June (Barcarolle). It could be suggested that Petrushansky occasionally causes small ripples in the natural flow of the music which may be due to his determination to be expressive, but the beauty of sound and depth of meaning behind each note generally makes up for this. However, there are a few instances where it seems that Petrushansky' s flexibility with rubato and tempi is perhaps a little too indulgent. Examples of this can be found in July: Song of the Reaper and November: Troika when in very small instances Petrushansky seems to pre-empt certain notes and in August: The Harvest when fluctuations of tempo combined with rubato at the beginnings and ends of phrases slightly unsettles the flow. 在整套組曲中，彼得魯尚斯基的旋律線條處理清晰，演繹多聲部結構時都條理分明，特別是在一些較抒情的樂段，比如說 《十月: 秋之歌》，及在《四季》中最著名的樂章──《六月: 船歌》。我認為彼得魯尚斯基演奏的自然流暢性偶爾泛起一些 「小漣漪」，或許是他想讓演奏更具感染力；然而，他優美的音色和每顆音符背後的深厚意義彌補了這些小瑕疵。可是，在 某些情況中，彼得魯尚斯基對搶板及速度的控制略微過為任意，例如在《七月: 收割之歌》及《十一月: 雪撬》，彼得魯尚斯 基彈奏的一些音符有少許搶拍的情況；在《八月: 豐收之歌》中，樂曲節奏快慢轉變不定，加上開首和結尾樂句運用的搶板， 有點阻擾了整首樂曲的流暢性。 JULY 2015 / The Pianist

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Petrushansky completes his rendition of The Seasons with an elegantly portrayed December: Christmas which would fit well into any of Tchaikovsky' s ballets. Tchaikovsky' s ability to write orchestral music is made apparent in Petrushansky' s interpretation of September: The Hunt when in the central section he manages to draw out the different sounds of an orchestra from the piano. 彼得魯尚斯基以他細緻優雅演釋的《十二月: 聖誕節》，為整套《四季》作結。他所演奏的《十二月》應該可與任何一首柴可 夫斯基的芭蕾舞劇作品配合得天衣無縫。彼得魯尚斯基在詮釋《九月: 狩獵之歌》時突顯了柴可夫斯基創作管弦樂作品方面的 才能，在樂曲的中段他能夠以鋼琴彈出管弦樂團中的不同聲音。 The influence of Schumann' s Scenes of Childhood, Op. 15, is clear in Tchaikovsky' s Children' s Album, Op. 39.

Tchaikovsky captures glimpses of different scenes in a similar way to Schumann and includes comparable pieces such as Playing Hobby-Horses and Sweet Dreams. As in The Seasons, Petrushansky brings out the character of each piece and clearly defines their individual qualities including the mock-militarism of March of the Wooden Soldiers, the bird calls of Lark Song, and the mischief of The Sorcerer. Tchaikovsky appears to acknowledge the funeral march of Chopin' s second piano sonata in The Doll' s Funeral which, although fun to hear, is probably not something appropriate to smile at ! 舒曼的《童年情景》作品15，對於柴可夫斯基的《兒童鋼琴曲集》作品39的影響可為顯而易見。柴可夫斯基與舒曼作曲手 法相仿，以筆下的音符紀錄了不同的情景，其中包括一些與舒曼風格類似的樂曲，如《騎木馬》和《快樂的夢》。就如《四 季》演繹方法一樣，彼得魯尚斯基在演奏《兒童鋼琴曲集》時帶出每首樂曲的風格，並清晰地介定每首的獨特性質，例如 《木偶兵進行曲》中的仿軍國主義、《雲雀之歌》中的鳥叫聲及《巫婆巴巴雅卡》中的淘氣。柴可夫斯基的《洋娃娃的葬 禮》似乎是在向蕭邦《第二首鋼琴奏鳴曲》中的葬禮進行曲致敬。這葬禮進行曲雖然聽起來很有趣，但卻不該笑著聽完！ Tchaikovsky utilises Russian folk music in Russian Song and Peasant Prelude which Petrushansky rustically portrays and an effective accelerando throughout Folk Song helps to bring it to life. The work then takes on a more international dimension with Italian Song, Old French Song, German Song, and Neapolitan Song which are all depicted skilfully by Petrushansky (interestingly the theme for the latter of these pieces is borrowed from Tchaikovsky’s Neapolitan Dance from Swan Lake). Children’s Album concludes with In Church which mimics the sound of an Orthodox choir which Petrushansky beautifully conveys. 柴可夫斯基在《俄羅斯之歌》及《農夫前奏曲》中均加入了俄羅斯民歌 的元素。彼得魯尚斯基的樸實的演奏表現出其濃厚的民族風情，而在彈 奏《民歌》時從頭到尾運用了漸快技巧，令整首樂曲更為生動。這曲集中間的選材變得「國際化」：《意大利之歌》、《法 國古歌》、《德國之歌》及《拿坡里之歌》，彼得魯尚斯基都能一一嫻熟地演奏。有趣的是，其中《拿坡里之歌》的主題是 以柴可夫斯基自己所著的《天鵝湖》中的《拿坡里之舞》作藍本。《兒童鋼琴曲集》最後以《教堂內》作結，而彼得魯尚斯 基完美地演奏出《教堂內》中所模仿東正教合唱團的歌聲。 Both The Seasons and Children’s Album are interesting pieces which are performed by Petrushansky with thought and conviction.

His depth of musical thought is clear throughout and is expressed through his careful control of phrasing, voicing, and colour. Although there may be a few superfluous indulgences, overall Petrushansky gives a characterful and commanding performance which provides an ideal opportunity to get to know better these two lesser-known works by Tchaikovsky. 《四季》及 《兒童鋼琴曲集》兩套組曲都引人入勝，而彼得魯尚斯基 的演繹附有想法和說服力。他深厚音樂造詣體現在他小心細膩的分句 法、聲部處理和音色控制。雖然當中有少部份地方的演繹時顯得過份 自由放縱，但彼得魯尚斯基的確給予聽眾一個富有個人風格而又出色 的表演。他的這張唱片為大眾提供一個很好的切入點，讓他們對柴可 夫斯基這兩套較不為人熟識的套曲有更多的了解。

Matthew McCombie British pianist Matthew McCombie participates in a wide range of activities including performances as a soloist and orchestral musician, accompaniment, collaboration with composers, and educational work. Matthew is a graduate of the Royal College of Music and Trinity Laban Conservatoire of Music and Dance, London and he has performed with leading conductors including Barry Wordsworth, James Judd and Ronald Corp. 英國鋼琴家 Matthew McCombie 以優異成績畢業於英國倫敦皇家音樂學院。作為協奏 曲獨奏者他曾與 Barry Wordsworth ， James Judd 及 Ronald Corp 合作，並與 Trinity Symphony Orchestra及 New London Orchestra演出。他曾於Steinway Hall, St John's Smith Square, Ely Cathedral 及Cambridge Fitzwilliam Museum的舞台演出。

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JULY 2015 / The Pianist

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青苗頻道

廣州珠江鋼琴集團股份有限公司（以下簡稱“珠江鋼琴集團”） 成立於1956年，是一家集鋼琴、數碼樂器和音樂文化教育協同發 展的綜合樂器製造企業，2012年珠江鋼琴成功IPO整體上市，成 為國內第一家上市的樂器企業，進一步向高新技術和文化產業發 展。至2013年累計生產鋼琴約175萬架，銷售輻射全球180多個 國家和地區，國內市場佔有率達35%以上，全球市場佔有率達 25%以上，企業主要經濟指標20多年來穩居同行首位。

珠江鋼琴集團是全球最大的鋼琴製造商、最具國際競爭力的中國 樂器龍頭企業和最具國際影響力的民族品牌。公司擁有全球最大 的鋼琴木材加工基地和最先進的木材處理設備，在全國同行率先

托馬

世界頂級鋼琴設計製造專家。1958年在德國榮獲鋼琴 製作大師證書；先後在世界二十多家知名鋼琴公司從

通過了ISO9001、ISO10012等國際標準的管理體系認證，是中國樂

事鋼琴製作、鋼琴設計工作，並擔任技術主管，曾在德國專門的鋼

器同行唯一一家擁有“國家級技術中心”的“高新技術企業”，是

琴研究機構從事鋼琴製造技術工藝的研究開發。現移居瑞士。

國內鋼琴製造技術的領航者，是鋼琴產品及零部件的國家和行業

托馬先生擁有50多年鋼琴設計的經驗和深厚的鋼琴設計理論功

標準、鋼琴製造技能標準和培訓教材的起草單位。是"國家文化

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近幾年來，珠江鋼琴集團公司大力推進技術創新和產品檔次提

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有國際競爭力的中國企業”、“國家文化產業示範基地”，是中

琴的高級技術顧問，研發高級鋼琴，並負責培育珠江鋼琴設計專業

國樂器行業唯一一家榮獲“全國質量獎”、“廣東省政府質量獎”

人才隊伍。全面提升了珠江鋼琴的品牌形象和內涵質量，提高了產

的質量效益型企業，是唯一榮獲國際音樂製品協會“里程碑”獎

品的國際競爭力、影響力。珠江專業高擋鋼琴的研發成功，填補了

等榮譽的民族自主品牌企業。

中國高檔鋼琴的空白，並被列入2008-2009年國家重點新產品計劃。

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THE PIANIST

琴韻

2015/1 Issue No.13 第十三期

THE PIANIST

琴韻

2015/4 Issue No.14 第十四期

THE PIANIST

琴韻

2015/7 Issue No.15 第十五期

— Interview with Matti Raekallio 專訪 Matti Raekallio Interview with Pascal Devoyon 專訪 - Pascal Devoyon Music and Theology - Lai Cheuk-Yin's 神學與音樂之對話–黎卓然 Piano Clinic - Introduction to the Piano Timbre- Henry Wu 鋼琴音色的介紹–胡國安

Pascal Devoyon

Interview with Nelita True 專訪 Nelita True Careers in Music: Dealing with Practical Aspects of the Music Profession - Dr Jackson Leung 職業音樂生涯：如何面對音樂專業中各種實際問題 A Pianist's Reflection: So Close yet So Far (but I am not alone) - Bobby Chen 一個鋼琴家的自白：這麼近 那麼遠（但我不孤單） CD Review of "Edvard Grieg Lyric Pieces"- Matthew McCombie “Edvard Grieg Lyric Pieces” 唱片評論

Nelita True

— Expressing our Emtion: A Pianist Reflection - MiYeon Lee 傳達情感︰一個鋼琴手的自白 - MiYeon Lee — Studying Beethoven's Piano Sonata: In defence of Historical Editons - Tristan Lee 細聽貝多芬鋼琴奏鳴曲：古典版本的辯解 - Tristan Lee — How to pick the right piano to your need? - Henry Wu 如何按自己需要，選擇合適的鋼琴？

Matti Raekallio