「上善若水」順應自然、包容萬物：黎卓宇從懵懂蛻變到成熟

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　　在國際音樂大賽嶄露頭角，是青年音樂家向國際樂壇介紹自己最快的方法之一。但是得獎之後呢？以重要賽事平均三到五年舉辦一次的週期來計算，依我的判斷，如果得獎後五到十年內沒有交出耀眼成績單，以現在「江山代有人才出」的速度，新奇的保鮮期一過，比賽場上的豐功偉業，很快只能淪為老兵口中的當年勇。美籍華裔鋼琴家黎卓宇（George Li）就是一個在跑道將盡時，即時拉高機頭起飛的例子。

　　二○一五年與格紐沙斯（Lukas Geniušas）並列柴科夫斯基國際鋼琴大賽銀牌，黎卓宇如今已從當年二十歲意氣風發的青年，即將邁入而立之年。過去出版的「馬林斯基劇院音樂廳獨奏會實況」、「柴科夫斯基第一號鋼琴協奏曲、李斯特作品」，或是兩張線上專輯Sessions不是不好，而是在技巧之外，總讓人覺得個人音樂性與情感塑造與同儕一般，缺少出眾的臨門一腳。十年期限將至，所幸二○二四年出版新專輯「律動」（Movements）交出一場張即時的成績單，證明黎卓宇有資格朝向藝術名家的路上邁進。

　　黎卓宇一九九五年出生於美國波士頓，父母成長於文化大革命時期的中國。移民美國後，身為科學家與會計的父母雖然自己無緣學習樂器，但是他們利用廣播讓孩子接觸音樂、欣賞音樂會。在親戚介紹下，他們讓大女兒跟著畢業於上海音樂學院，移民美國前曾任北京中央樂團鋼琴家的楊鏡釧學習鋼琴。看著姐姐彈琴，黎卓宇也想學，於是他從四歲半到十二歲都在楊鏡釧門下，二○○四年也在紐約向殷承宗學習三年左右。十一歲與業餘樂團演出貝多芬第一號鋼琴協奏曲的時候，黎卓宇乍然覺得自己好像在音樂中找到一種奇特的共鳴。從那一刻起，他下定決心把「彈鋼琴」當成自己的終身志業。

　　雖然立志從事音樂工作，但是黎卓宇卻選擇在哈佛大學主修英國文學，同時在新英格蘭音樂學院師從卞和暻（Wha Kyung Byun）的雙學位課程，因為他認為文學能啟發自己更深入理解音樂。大一那一年，黎卓宇到莫斯科參加柴科夫斯基國際鋼琴大賽，一舉拿下第二名，是所有得獎人之中，唯一不是接受俄系訓練的選手。

　　「律動」是黎卓宇第一張全錄音室專輯，以「舞蹈」為主題。我覺得和過去最大的不同，在於更多細節的經營。除了細部表情處理之外，樂句間的連貫更有邏輯性，整體結構更加清晰。從《阿拉貝斯克》的細膩到《大衛同盟舞曲》中多變的表情層次，他對每首作品的情緒處理都達到了高度的平衡，展現出他對音樂的深刻理解與掌控力。在《高貴與憂傷的圓舞曲》中，黎卓宇展現了出色的節奏感與動態音色處理，把拉威爾作品的多彩性詮釋得淋漓盡致。《彼得羅希卡》則是把音樂中角色塑造得生動鮮明，戲感十足，展現出極強的音樂想像力。可以說黎卓宇以前的音樂雖有彩妝，但是有點過於理所當然，現在則用工筆添加了許多豐豔的色彩，但又不讓人覺得矯飾和俗麗。這點可能得自恩師卞和暻的啟發。因為當年卞和暻曾提醒他，演奏音樂就像畫一幅畫，雖然要埋首於細節，但隔一陣子就要退後觀察一下整體，這樣畫作才會均衡完美。

　　十三歲的黎卓宇曾經說過，「鋼琴就像個黑盒子，投入什麼，它就回應什麼。當我快樂時，它就快樂。當我想歌唱，它就歌唱。當我感到無聊，它就會無聊。」後來他進一步以李小龍的名言闡述言這個概念：「清空你的心靈，無形無相，像水一樣。把水倒進杯子，它就成為杯子；倒進茶壺，它就成為茶壺。水可以流動，也可以碰撞。要做到像水這樣，老友！」表示彈琴要像水一樣靈活多變，適應各種環境和情況，同時保持自我控制和目標。至柔、至剛都是水，這就是音樂的魅力。這樣的鋼琴哲學觀，在「律動」專輯中已然成型，也成為黎卓宇躋身頂尖鋼琴家之林的堅實支柱。

Winning international competitions is one of the quickest ways for young musicians to launch their careers. However, staying relevant after such achievements is challenging. For Chinese-American pianist George Li, who shared the silver medal at the 2015 Tchaikovsky International Piano Competition, the clock was ticking. Now approaching 30, Li has proven his artistry with his 2024 album "Movements", signaling his readiness to join the ranks of distinguished pianists.

Born in Boston in 1995 to Chinese immigrant parents, Li began piano lessons at age four-and-a-half. His teacher, Dorothy Shi, and later Yin Chengzong, laid a strong foundation for his craft. At 11, Li experienced a profound connection with music during a performance of Beethoven's "Piano Concerto No. 1", solidifying his ambition to pursue piano professionally.

Despite his musical aspirations, Li chose to study English literature at Harvard while simultaneously pursuing a dual degree in music at the New England Conservatory under Wha Kyung Byun. In 2015, his second-place finish at the Tchaikovsky Competition stood out, as he was the only finalist not trained in the Russian school.

Li's latest album, "Movements", revolves around the theme of dance and showcases his artistic evolution. Unlike his earlier recordings, which, while proficient, lacked emotional depth, "Movements" reflects greater attention to detail and interpretative nuance. From the delicate expressiveness in "Arabesques" to the intricate emotional layers in "Davidsbündlertänze", Li demonstrates improved phrasing, structural clarity, and dynamic contrast. His interpretation of Ravel's "Valses nobles et sentimentales" reveals refined rhythm and tonal richness, while "Petrushka" captivates with vivid characterization and theatrical flair.

This newfound maturity in Li's playing stems in part from his teacher Byun's philosophy: music should be approached like painting, balancing detailed focus with a holistic view. This perspective has helped Li bring vibrant colors and balanced expression to his performances.

Li's "piano philosophy" also reflects his personal growth. He likens the piano to a "black box" that mirrors the player's emotions and interprets music with Bruce Lee's concept of being "Be water"—adaptive yet purposeful. This philosophy, fully embodied in "Movements", underscores his versatility and positions him firmly among today's leading pianists.

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

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