書名：Black and White in Harmony: A Conversation on Music, Literature and Arts在黑白琴鍵中對談：音樂、文學與藝術

作者簡介

林孜郁（Tzu Yu Allison Lin）

Dr. Tzu Yu Allison Lin achieved her PhD with her study of Virginia Woolf and London narratives at Goldsmiths, University of London. Her research interests are visual/verbal representations, literary criticism. She has articles and books published, including the most recent book, "The Condition of Language" (2021). She is teaching at Gaziantep University, Turkey.

林孜郁博士在倫敦大學金史密斯學院獲得博士學位，現任教於土耳其加濟安泰普大學。她的研究興趣包括視覺藝術、文學批評。她有多篇文章及專書出版、發表，其中最新出版的專書為《The Condition of Language》（2021，秀威資訊）。


陳瑞斌（Rueibin Chen）

Taiwanese-Austrian Concert Pianist, won a total of eighteen medals including in various international piano competitions! He has performed at the Art festivals, Concert Halls and as the Soloist with Orchestras such as Salzburg, Schleswig-Holstein Germany, World Expo China, Beijing Int’l Film Festival, NY Carnegie, NY Lincoln Center, DC Kennedy Center, LA Disney Hall, Vienna Musikverein, Vienna Konzerthaus, Opera de Monte Carlo, Warsaw Philharmonie, Bolshoi Hall Moscow, Leipzig Gewandhaus, Amsterdam Concertgebouw, Tokyo Suntory, Osaka Symphony Hall, Sydney Opera House, Los Angeles Philharmonic, Utah, Pacific, Budapest, Prague, Moscow State, Russian State, Czech State Philharmonic of Brno, Romanian Radio National Orchestra, New Philharmonia Japan and London Chamber Players! Recordings with Universal, Naxos, etc.

陳瑞斌是奧地利華裔鋼琴家、已故俄羅斯鋼琴大師貝爾曼（Lazar Berman）唯一的華裔弟子，曾在世界各地的藝術節和著名音樂廳如薩爾茲堡、維也納、紐約卡內基、林肯中心、甘迺迪中心、洛杉磯迪士尼、維也納金色大廳、萊比錫布商大廈、阿姆斯特丹大演奏會堂、東京三得利、大阪交響、北京大劇院、雪黎歌劇院演出。

書籍目錄

Acknowledgements
Part 1 Introduction
-Interlude Generations
Part 2 A Pianist's Intuition
-Interlude Aesthetics
Part 3 Chopin's Portrait
-Interlude Health
Part 4 Chopin vs. Beethoven
-Interlude Psychology
Part 5 Music / Film / Literary Texts
-Interlude Education
Part 6 Female Composers
-Interlude Gender
-Interlude Technology
Music referred to – the Interludes 有關間奏
Photos

致謝
第一部　介紹
〈間奏〉世代相傳
第二部　鋼琴家的直覺
〈間奏〉美學
第三部　蕭邦的肖像
〈間奏〉健康
第四部　蕭邦和貝多芬
〈間奏〉心理
第五部　音樂╱電影╱文學文本
〈間奏〉教育
第六部　女性作曲家
〈間奏〉兩性
〈間奏〉科技

文章試閱

Interlude　Generations

The Plate, youth, glory –
can they see a future
which can be understood
only by few.
Affirmation, Freedom,
Words and Music come to resemble
invisible thoughts –
Hearing Arts,
Seeing Music,
And please come to Taste
Literature!
When you encounter with
the Finest,
Do not be afraid of
Your own imagination.
Fly with your Senses.
The Greatest ever –
born Aries,
Conducting Romanticism
as the Diamond Rock.
The smoking flame,
The Fancy love,
Sky high.
This is a Pipe.
And it does want to be
Smoked –
for a very long time
without being disturbed.
Give me a Language or a Sign,
that is more powerful than Music.
The sound of the dustman
Comes regularly.
The hour, the work,
That keeps me awake.
From afar, the open sea,
You and your traveller's suit
Come to keep the civilization alive.
A hero,
a Myth and the crowd –
my reflections discover the
Drama inside you.
A quest, with imaginations and
Symbols –
Your foreign collections show you the
way Home.
The sound of the Music,
Your emotion is illustrated
On the stage.
The Grand Piano –
Listen!
Passionately – what is going to happen?
– our Pride.
Cheers to the Undreamed Dreams.
The wings of Knowledge
can take you.
Life is not a film –
No cutting, no editing.
But remember – once
You fly:
The world could be
Yours.
Take it!
Before you sink into
your over-thinking.
The intuition of a Pianist –
is Calling.
Redemption.
Tourists of the Earth as
You and I.
How adorable is that
Angel – looking
Backwards?
Something New to be found.
Premiere –
You sail to a Future –
Dazzling!

〈間奏〉世代相傳

唱盤、青春、榮耀──
他們能看到未來嗎？
可以這樣理解
只有少數人。
肯定、自由、
文字和音樂變得相似
看不見的念頭──
聽見藝術，
看到音樂，
並請前來品嚐
文學！
當你遇到
最優秀的，
不要害怕
你的想像力
與你的感官一起飛行。
有史以來最偉大的──
生為牡羊座，
創作浪漫主義
如鑽石般閃耀的二號協奏曲。
冒煙的火焰，
奇特的愛情，
天高雲淡。
這是一個煙管。
它確實想成為
煙熏──
很長一段時間
不想受打擾。
給我一種語言或一個符號，
這比音樂更有力量。
除塵工人的聲音
定期。
時間、工作、
這讓我保持清醒。
遠遠望去，一望無際的大海，
你和你的旅行套裝
來保持文明的活力。
一個英雄，
神話與人群──
我的反思發現
你的內心戲。
充滿想像與探索精神的探索
符號──
你的外國收藏品向你展示
回家的路。
音樂之聲響起，
你的情緒已被詮釋於
舞台之上。
演奏型大鋼琴──
聽！
熱情地──將會發生什麼事？
我們的驕傲。
為未曾夢想的夢想乾一杯。
知識的翅膀
可以帶領你。
生活不是電影──
沒有剪輯，沒有編輯。
但請記住──一旦
你敢飛：
世界可以是
你的。
拿起它吧！
在你陷入
你的過度思考之前。
鋼琴家的直覺──
正在呼叫。
救贖。
你和我作為
地球上的遊客。
那是多麼可愛啊──
天使
望向過去
有了新的發現。
首演──
你航向未來──
令人刮目相看！






Part 2　A Pianist's Intuition (excerpt)

Allison Lin (AL):
Hello Rueibin. Thank you for contacting me in January in 2024. The idea of having a conversation came even earlier – is that right, Rueibin?

Rueibin Chen (RB):
That is right Allison. Last Summer, in 2023, we were both having very busy schedules. But since then, we have been thinking about doing a joint project, which would allow us to cooperate with each other by music, literature, and arts.

AL:
That is correct, Rueibin. Originally we were thinking about something like a biography. But later on, I realised that biography, as a literary genre, has many traditions which may be a sort of a burden. For instance, we may need to deal with issues such as what is a biography? What are the percentages of truth verses fiction?

RB:
Yes – that too! After some consideration, I realised that what we can achieve is actually bigger than a so-called biography.

AL:
Indeed – that is the point when we see all the "interlude" parts together, in this book. We would say that we create a new literary genre – a bio-poem. I remember a friend, a poet from China, Peter Fong. Once when we were at National Cheng-Chi University, in the English Department in Taipei, having a conference called Romanticism and its Legacy, he said to me that we writers can find freedom through poetry. I guess it is because of our unique poet’s licence [laugh].

RB:
Well, for me, as a pianist, with or without music, I am able to maintain my solitude, which I would take it as my freedom. So I would imagine how important for you, as a writer, to have a quest for freedom through words [laugh]. As we are talking now, I just realised that today is the Poet's Day plus the Dragon Boat Festival. What a coincidence!

AL:
For sure – since the ancient time, even until now, poetry is not only a literary genre. More importantly, it has a profound connection to music. We know that you were born in Tainan, Taiwan. Can you say something about the connection between your music and your hometown?

RB:
Well. In my hometown Tainan, I have my father and my uncle who are both music teachers. So you can actually say that these two men are my first piano teachers. Especially my father – he does not only teach me how to play the piano but also show me the way to appreciate music itself. When I was a ten-year-old boy, back then, we used to listen to music together. For example, Beethoven's Piano Sonata is my favourite. As a young boy who loves music, you can say that this piece of music shows the bond between me and my father.

AL:
How about Vienna? Is it your favourite city in the world? Why?

RB:
Well, for me, Vienna is my second hometown [laugh]. This city reminds in me beautiful images which are composed by Chopin's waltzes, Vienna New Year Ball, and Vienna coffee with very rich cream and aroma. This city is very important for me. As a young pianist, I took some long train journey back and forth, to see my professor Lazar Berman for the piano lesson.

AL:
Can you talk about your professor, Lazar Berman? What did you learn from him, as a young pianist as you were? Why do you respect him so much?

RB:
Professor Berman took me as his student, after listening to me playing the piano for about 5 hours. After I became his student, officially, each month I went to see him and play for at least 5 hours. I remember when he was teaching me, he would do a sort of demonstration. He would always want me to play as good as he did – the technique, the energy, the passion! So it was very stressful, yet, unforgettable [laugh].

AL:
But why do you like Chopin and his music so much? As you told me before, Chopin is your favourite – but why?

RB:
Oh…right! My dear Chopin [laugh]! You know, when I was in Paris, I went to the Louvre to see paintings. Walking around, alone, back and forth, for 8 hours I was there! I didn't know why…I felt something was leading me somewhere – and then there! Chopin's portrait just jumped into my sight. It's a feeling, which is difficult to communicate by language.

AL:
For sure I know what you mean [laugh]! I played Chopin's Fantaisie Impromptu (op. 66) myself, when I was 12. It's not an easy piece at all – not even about the difficult musical technique – the real difficult thing is to feel the emotional depth. Recently, I watched the film Chopin: Desire for Love. Somehow I can try to understand the sense and sensibility of his life and his music, with George Sand's involvement. As people know Chopin as the Poet of the piano – to read the poem is one thing, but to fully understand is another.

RB:
That's very true. I can play all of Chopin's music. So I can say that through time, one can have very different understanding and feeling toward the same piece.

AL:
Can you say something more about Liszt?

RB:
Why do you want to know more about Liszt? Is he so special to you?

AL:
Well, there is a song, Liszt's Liebesträume – Love Dream, which is very impressive especially for me.

（……）


第二部　鋼琴家的直覺（節選）

林孜郁（以下簡稱林）：
瑞斌您好。謝謝您在2024年1月時聯繫我。

陳瑞斌（以下簡稱陳）：
不敢當。去年夏天，也就是2023年，我們兩人的行程都非常繁忙。但從那時起，我們就一直在考慮要一起做一個案子，讓我們能夠在音樂、文學和藝術方面進行合作。

林：
沒錯。最初我們考慮的是寫一部傳記一類的作品。但後來我發現，傳記作為一種文學體裁，有許多（不被打破的）傳統，而那些可能會是我們的負擔。例如，我們可能去需要處理諸如「什麼是傳記」，還有「真實與虛構的百分比是多少」這類的問題。

陳：
是的──正是如此！經過一番思考，我發現我們能做到的，其實比所謂的「傳記」更廣泛也更深刻。

林：
確實如此──這就是我們這本書裡〈間奏〉的部分。所有的〈間奏〉相加起來，我們創造出了一個新的文類──一首傳記詩。我有個朋友名叫馮冬，是一位來自中國的詩人，任教於青島大學。我記得有一次我們在臺北，在國立政治大學英文系召開「浪漫主義遺風」研討會的時候他對我說，我們作家可以透過詩找到自由。我想這算是某種獨特的詩人「執照」吧。

陳：
對我來說，作為一名鋼琴家，無論有沒有音樂，我都能夠保持我的遺世獨立，而且我將其視為我的自由。所以我可以想像，身為作家，透過文字追求自由對您來說有多重要。聊著聊著，我才意識到今天是詩人節加端午節。真是巧合啊！

林：
可以肯定的是，從古至今，詩歌不僅僅是一種文學體裁。更重要的是，它與音樂有著深厚的連結。我們知道您出生於台灣台南。您能談談您的音樂和您的家鄉之間的連結嗎？

陳：
我的父親和叔叔都還在我的家鄉台南。他們都是音樂老師，所以您其實可以說這兩個人都是我的第一位鋼琴老師。尤其是我的父親，他不僅教我如何彈鋼琴，還向我展示了欣賞音樂的方法。我十歲的時候，我們常常一起聽音樂。例如，貝多芬的鋼琴奏鳴曲是我的最愛。身為一個熱愛音樂的小男孩，我想這些音樂代表了我和父親之間的情誼。

林：
我懂了。當然，我們都知道您在您的職業生涯中演奏過許多古典大師的音樂作品，但您為什麼這麼喜歡蕭邦和他的音樂──正如您之前告訴我的，蕭邦是您的最愛──但為什麼呢？

陳：
喔……對了！我最親愛的蕭邦！不瞞您說，有一次我一個人在巴黎的時候，去羅浮宮看畫。我一個人走來走去、來來回回，待在裡面整整八個小時！我不知道為什麼……只是感覺到有東西正帶我去某個地方──然後我就到了那裡！蕭邦的肖像就這樣躍入了我的視線！那種感覺，很難用語言來表達。

林：
我當然懂得您的意思！我十二歲的時候，也有演奏蕭邦的《幻想即興曲》（作品66）這樣的一種心路歷程。尤其在最近，我看了電影《蕭邦：對愛的渴望》。不知道為什麼，透過喬治•桑，我似乎可以去試著理解他的生活，還有其中有關音樂的情感。正如人們所知，蕭邦是所謂的鋼琴詩人──但是其實，讀詩是一回事，完全理解它又是另一回事。

陳：
您說得很對。蕭邦的所有音樂我都會彈。所以我可以說，隨著年齡的增長，一個人對同一件作品的理解和感受，也會有很大的不同。

林：
您覺得維也納怎麼樣？這是世界上您最喜歡的城市嗎？為什麼呢？

陳：
對我來說，維也納是我的第二個家鄉。這座城市在我的腦海裡有著美麗的畫面，由蕭邦的華爾滋、維也納新年舞會、奶油香氣濃郁的維也納咖啡共同組成。這座城市對我來說真的非常重要。作為一名年輕的鋼琴家，我會搭長途火車火車到我的老師貝爾曼那兒上鋼琴課。

林：
您能多談談貝爾曼老師嗎？作為一名年輕的鋼琴家，您從他身上學到了什麼呢？您為什麼這麼尊敬他？

陳：
第一次見面的時候，貝爾曼教授聽了我彈了大約五個小時的鋼琴後，才答應收我當他的學生。當我正式成為他的學生後，我每月都會去他那裡上課，至少彈五個小時的鋼琴。他教我的時候，會做一些示範。他總是希望我能彈得像他一樣好──怎麼說呢……就是技術、能量、熱情都得要一一到位！所以我壓力很大，但每一次上課又都很令人難忘。

林：
能請您多談談李斯特嗎？

陳：
為什麼您想多了解李斯特？他那麼特別嗎？

林：
有一首鋼琴曲，李斯特的《愛之夢》，我對它印象非常深刻。

（……）