藝高人膽大，嬌小志氣高：陳以琳首張專輯問世

• Facebook
• Threads
• X
• Reddit
• LinkedIn
• 共享已複製到剪貼簿
• 郵件

　　盼了又盼，陳以琳（Elim Chan）終於出版第一張個人專輯！

　　第一次注意到陳以琳，是英國鋼琴家格羅斯維諾（Benjamin Grosvenor）幾年前與皇家蘇格蘭國家交響樂團合作的蕭邦鋼琴協奏曲專輯，指揮是當時擔任首席客座指揮的陳以琳。格羅斯維諾的表現很出色，但是沒有陳以琳，這張唱片的品質肯定會薄弱不少。在這兩首配器寫作並不出色的作品裡，陳以琳以清新精簡的風格緊緊跟隨著格羅斯維諾的音樂性。管弦樂不但有靈巧細膩的呼吸感與節奏性，還能找到和鋼琴對話的聲音線條。這張唱片得到那一年《留聲機》唱片大獎「最佳協奏曲」。

　　專輯《所有這些光亮的事物》（All These Lighted Things）封面上，陳以琳把頭髮全部往後梳，看起來成熟不少。事實上，不到四十歲的她不但個子嬌小，還有一張娃娃臉。看看她在二○一九年指揮阿姆斯特丹大會堂管弦樂團的開季音樂會片段，難怪每當她站上指揮台，第一次合作的樂團音樂家都會驚呼，甚至訕笑，「她今年九歲嗎？我們演奏時看得到她嗎？」可是，我極喜愛這個「小女孩」清晰的節拍，以及精準靈活，沒有任何多餘動作的指揮手勢。她的肢體姿態流暢靈活，精力充沛，可以想見她熱愛的拳擊運動帶來的影響。

成長背景與音樂啟蒙

　　陳以琳一九八六年出生於九龍，父親是喜愛古典音樂的藝術教師和畫家，母親是公務員。兄弟姐妹都從小接觸樂器，陳以琳學的是鋼琴與大提琴，也參加合唱團。但是從小學到中學，她唸的都是德望學校、香港李寶椿聯合世界書院這樣的傳統名校。甚至到了美國，她也是到麻州的史密斯學院（Smith College）修心理學，目標是成為法醫精神科醫生。

　　雖然沒有想過從事專業音樂工作，但是八歲參加香港愛樂舉辦的教育音樂會時，指揮葉詠詩讓陳以琳第一次萌生「我也想站在樂團前面」的念頭。在史密斯學院唸書時，該校合唱團、管弦樂團指揮赫什（Jonathan Hirsh）要求陳以琳當他的助理。一次排練威爾第《安魂曲》，赫什請大二的陳以琳幫忙指揮〈震怒之日〉（Dies Irae）以便到觀眾席聆聽效果。這一次，陳以琳在指揮台上感受到音樂的力量和震撼，當下決定轉修音樂，從最基礎的看總譜開始學起，然後到密西根大學跟隨凱斯勒（Kenneth Kiesler）取得碩士學位和音樂藝術博士學位。二○一四年，也就是在密西根大學的最後一年，陳以琳到倫敦參加唐娜泰拉‧弗利克指揮大賽（Donatella Flick Conducting Competition），成了史上第一位女性首獎得主，獎勵之一是擔任倫敦交響樂團助理指揮一年，成為陳以琳職業生涯的起點。

職業生涯的起點與成長

　　在倫敦交響樂團的那一年，正好遇到樂團首席指揮銜接的空窗期，陳以琳因而有機會和多位客席指揮，像是帕帕諾（Antonio Pappano）、海汀克（Bernard Haitink）合作。而只要遇到以遲到或不排練聞名的葛濟耶夫（Valery Gergiev）缺席，陳以琳就有上台的機會。二○一七年一月，陳以琳臨時代替生病的賈維（Neeme Järvi）與皇家蘇格蘭國家交響樂團合作拉赫曼尼諾夫第二號交響曲，讓樂團決定在次年聘請她擔任首席客座指揮，前一年則是瑞典于默奧（Umeå）北方歌劇院（NorrlandsOperan）聘請陳以琳擔任首席指揮。安特衛普交響樂團則在二○一九年邀請陳以琳出任首席指揮。

第一張個人專輯

　　專輯標題《所有這些光亮的事物》來自唱片中美國作曲家奧格內克（Elizabeth Ogonek）的作品標題，作曲家藉由美國神秘主義詩人托馬斯‧默頓（Thomas Merton）描繪自然與靈性之間深刻聯繫的詩句，譜寫出這部饒富戲劇性的管弦樂作品。它的配器非常精巧，與拉威爾田園詩般的《達孚尼與克羅埃》組曲第二號，都有華麗的音樂色彩。

　　充滿能量、微妙色彩變化的普羅科菲耶夫《羅密歐與茱麗葉》是整張專輯最精彩的部分。陳以琳從兩組組曲中挑選部份曲目，並根據劇情重新安排順序。她把音樂裡的溫柔、戲劇性、細膩的聲音色彩和趣味性表現得淋漓盡致。〈卡普萊特與蒙特鳩家族〉（The Montagues and Capulets）精緻的層次首先抓住我的注意力，〈女孩茱麗葉〉（The Young Juliet）的純真、〈勞倫斯神父〉（Friar Laurence）典雅的弦樂、〈陽台場景〉（Romeo and Juliet）從最初以禮相待的羞怯到最後的激情迸發、〈羅密歐與茱麗葉分別前〉（Romeo and Juliet Before Parting）中的音色光影，更別說〈假面舞會〉（Masks）生動靈巧的節奏⋯⋯每一首都生意盎然，牽動著聽眾聆賞的注意力。

　　這張唱片出版的時間點很微妙：二○二三年離開皇家蘇格蘭國家交響樂團後，陳以琳也宣布提前一年與安特衛普交響樂團解約。唱片在最後一個樂季開始前錄製，結束前推出。把手中的樂團合約清空之後，陳以琳將展翅飛向何方？很值得注意。


At long last, Elim Chan has released her highly anticipated debut album, "All These Lighted Things"!

My first encounter with Chan's artistry was a few years ago when British pianist Benjamin Grosvenor collaborated with the Royal Scottish National Orchestra for an album of Chopin piano concertos. Chan, then the orchestra's Principal Guest Conductor, brought out the very best in the compositions, despite their less-than-stellar orchestration. Her fresh, minimalist approach perfectly complemented Grosvenor's musicality, crafting an orchestral sound that was both vibrant and lyrical. This earned the album the Gramophone Award for Best Concerto Recording that year.

On "All These Lighted Things", the cover shows a more mature Chan, her hair sleekly pulled back. Yet beneath this transformation is the same petite woman with a youthful appearance, whose commanding presence surprises musicians meeting her for the first time. A memorable example was her debut with Amsterdam's Royal Concertgebouw Orchestra in 2019. Her precise, fluid gestures, free of excess, reflect the energy she channels from her passion for boxing.

Born in 1986 in Kowloon, Chan grew up in a family where music and the arts were central. Her father, a classical music enthusiast and painter, and her mother, a civil servant, encouraged their children to learn instruments. Chan played the piano and cello and sang in choirs but initially pursued a different path. She studied psychology at Smith College in Massachusetts, intending to become a forensic psychiatrist.  

Her pivot to conducting came unexpectedly. During her studies, Chan assisted the college's conductor, Jonathan Hirsh, who asked her to lead a rehearsal of Verdi's Requiem. Conducting the "Dies Irae" movement for the first time was transformative, sparking a passion that led her to change her major. She pursued music studies at the University of Michigan under Kenneth Kiesler, earning her master's and doctorate degrees.  

In 2014, Chan made history as the first female winner of the Donatella Flick Conducting Competition. Her victory earned her a year as Assistant Conductor of the London Symphony Orchestra (LSO), a pivotal role that jump-started her career. During her time with the LSO, Chan seized opportunities to work with esteemed conductors like Antonio Pappano and Bernard Haitink, even stepping in for Valery Gergiev on occasion.

The album's title piece, written by American composer Elizabeth Ogonek, takes inspiration from Thomas Merton's poetry, weaving intricate textures that resonate with nature and spirituality. Alongside Ogonek's work is Ravel's "Daphnis et Chloé, Suite No. 2", known for its luminous orchestration.

The album's centerpiece is Prokofiev's "Romeo and Juliet". Chan carefully curates movements from the two suites, rearranging them to align with the narrative arc of the play. From the nuanced tension in "Montagues and Capulets" to the youthful innocence of "Juliet as a Young Girl", every piece bursts with life. Highlights include the evocative "Balcony Scene" and the rhythmic brilliance of "The Dance of the Knights". Chan's dynamic interpretations amplify the drama, tenderness, and vibrant colors within each piece.

The timing of this release is intriguing. Following her departure from the Royal Scottish National Orchestra in 2023 and an early termination of her contract with the Antwerp Symphony Orchestra, Chan seems poised for a new chapter. With no ongoing commitments to major orchestras, the classical world is keen to see where this talented conductor will lead us next. 

Elim Chan has already proven herself as a conductor of extraordinary vitality and precision. Her future endeavors are bound to illuminate even greater musical horizons.

*This English version is a concise summary of the original Chinese article.*

---