技術與內涵的雙料冠軍：梁仁模來台展現小提琴完整表現力

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　　韓國小提琴家梁仁模（Inmo Yang）是二○一五年帕格尼尼國際小提琴大賽與二○二二年西貝流士國際小提琴大賽的雙料首獎得主。然而，他並沒有停留在「大賽冠軍」的光環下，而是以獨特的曲目選擇與音樂觀點，走出與眾不同的道路，逐步形塑出屬於自己的梁仁模。二○二五年下半年再度來到台灣，梁仁模不只和台北市立交響樂團合作首演台灣作曲家張玹的小提琴協奏曲，更帶來一場完整的無伴奏小提琴獨奏會，呈現出他「跨越過去與當代」的藝術面貌。

　　梁仁模出生於一九九五年，大約從九歲開始學習小提琴，先後就讀韓國藝術綜合學校與美國新英格蘭音樂學院。與同世代演奏家不同，梁仁模並未將重心完全放在比賽舞台，而是更早開始思考如何建立屬於自己的音樂觀。二○一五年，他在義大利帕格尼尼國際小提琴大賽獲得首獎，瞬間得到國際矚目；七年後的二○二二年，他又在芬蘭赫爾辛基的西貝流士國際小提琴大賽中脫穎而出。這兩大賽事在小提琴界各具代表性：帕格尼尼比賽重視無瑕技巧與音樂個性的展現，西貝流士比賽則強調結構感與作品深度。能同時在兩個截然不同取向的舞台上奪冠，顯示梁仁模已經具有完整的音樂理解力與表現力。

　　然而對梁仁模而言，比賽從來不是終點，而是推進他探索更廣闊曲目與音樂語言的契機。他也曾在訪談中談到自己對作曲的興趣，認為「作曲是保持音樂觀點的重要訓練」。近年，他甚至親自嘗試創作小品。對於一位小提琴家而言，這不只是額外技能，而是一種讓演奏與創作形成互動的方式，使他在詮釋他人作品時，更能從作曲者的角度理解音樂的組成與內涵。

音樂風格與曲目觀：跨越三百年的對話

　　細看梁仁模的曲目規劃，可以清楚感受到他對「時間跨度」的關注。他的獨奏會不會停留在單一風格，而是透過對比與呼應，將不同時代的作品放在同一個框架裡對話。

　　這次的無伴奏獨奏會即是典型範例：從巴洛克的巴赫、泰勒曼，延伸到二十世紀的易沙意、米爾斯坦，最後以恩斯特根據舒伯特《魔王》改編的大隨想曲收尾。這樣的設計讓全場演出成為一場「小提琴曲目與演奏技巧演進史」──聽眾不只是在欣賞一場獨奏，而是見證三百年間音樂風格、技巧與美學的演變。

　　梁仁模的演奏風格，既重視技巧，也重視音樂性。他並不將炫技作為目的，而是讓繁複的技術語言服務於音樂的敘事。例如，米爾斯坦《帕格尼尼魂》雖然充滿高難度技巧，他卻選擇強調旋律與音色表現，而非單純展示速度與力量。相對地，恩斯特《魔王》則考驗他在不同角色之間的音色切換與敘事掌控，讓技術與戲劇張力緊密結合。同時，他對風格轉換有敏銳感知。巴赫作品中強調結構與對位的嚴謹，易沙意作品則在相同框架下展現二十世紀的自由調性，這種古典與現代的並置，正好反映梁仁模的策展理念：讓不屬於同一時代的聲音，在舞台上展開對話。

當代音樂的興趣與台灣首演

　　梁仁模並不將眼光只停留在古典與浪漫，他對當代音樂也保持高度興趣。他曾在韓國媒體訪談中提到，作曲是維持音樂視野的方式，甚至親自參與創作。更重要的是，他積極與當代作曲家合作。這次台灣行程，他將與北市交合作，首演張玹創作的小提琴協奏曲《23.5°N, 121°E》。張玹是梁仁模在新英格蘭音樂學院時期的同學，作品標題取自台北的經緯度座標，象徵對台灣的致敬。對梁仁模而言，這樣的計畫不僅擴展了他的曲目版圖，體現他對新作品的支持，也是梁仁模「不斷向前」的音樂旅程延續。

借琴的即時感：帕格尼尼的Carrodus

　　除了曲目之外，樂器也是梁仁模近期備受矚目的話題。今年夏天，他在倫敦逍遙音樂節首次使用「Carrodus」耶穌‧瓜奈里（Guarneri del Gesù）小提琴。這把一七四三年的名琴曾屬於帕格尼尼，由英國史崔頓音樂協會（Stretton Society）出資購得並出借。梁仁模形容，這把琴的音色深邃卻帶有許多不可預測的特質，與他演奏薩拉沙泰（Pablo de Sarasate）的《卡門幻想曲》時的戲劇性不謀而合。雖然他在台灣的演出不一定使用這把琴，但對樂迷來說，這段「與名琴相遇」的故事，讓人更關注他與樂器間的互動，以及他如何在不同樂器間找到最恰當、而且屬於自己的聲音。

為什麼這場無伴奏獨奏會值得一聽

　　在今日的小提琴舞台上，能夠完整駕馭一場全無伴奏的獨奏會，本身就極具挑戰。梁仁模此次的曲目設計，讓聽眾有機會在短短一晚之內，穿越巴洛克的結構之美、浪漫主義的激情敘事，以及二十世紀的技巧革新。他將巴赫與泰勒曼放在開端，凸顯音樂最純粹的邏輯與舞曲性；轉入易沙意與米爾斯坦，則展示現代音響與浪漫炫技的交錯；最後在恩斯特的《魔王》中，以一把小提琴再現戲劇性的聲音劇場。這樣的曲目不僅需要演奏者面對極限的技術挑戰，也要求他能在長線結構中建立清晰的敘事，並在不同風格間自如切換。對聽眾而言，這場演出不僅是欣賞一系列作品，而是透過一位演奏家去理解小提琴三百年來的歷史進程。

　　此外，無伴奏的舞台意味著沒有任何遮掩。每一個音符、每一次換弓，都直接攤開在觀眾面前，既是對演奏者技術與體能的極端挑戰，也是對其舞台掌控力的驗證。唯有能結合高度專注、深刻音樂感與成熟藝術人格的音樂家，才有可能在這樣的形式中說服觀眾。梁仁模此次來台的行程，清楚展示出他作為一位「全方位小提琴家」的樣貌。他不僅能獨自支撐一場跨越三百年的無伴奏獨奏會，還能與樂團攜手參與當代作品的誕生。從巴赫的結構美學到恩斯特的戲劇張力，從帕格尼尼的傳奇名琴到張玹的新作，他的音樂世界不斷拓展，讓聽眾得以透過他，理解小提琴音樂的過去、現在與未來。

Korean violinist Inmo Yang, born in 1995, is a dual first-prize winner of the 2015 Paganini International Violin Competition and the 2022 Sibelius International Violin Competition. However, he has not rested on the laurels of being a “competition champion.” Instead, with his unique repertoire choices and musical perspective, Yang has carved out a distinctive path, gradually shaping his own identity as an artist. In the second half of 2025, Yang will return to Taiwan, collaborating with the Taipei Symphony Orchestra to premiere a violin concerto by Taiwanese composer Shiuan Chang. Additionally, he will perform a full unaccompanied violin recital, showcasing his artistic vision of “bridging the past and the present.”

Yang began studying the violin at around age nine, attending the Korea National Institute for the Gifted in Arts and later the New England Conservatory in the United States. Unlike many of his peers, Yang did not focus solely on competition stages. Early on, he began reflecting on how to establish his own musical voice. In 2015, his first-prize win at the Paganini International Violin Competition in Italy brought him international attention. Seven years later, in 2022, he triumphed at the Sibelius International Violin Competition in Helsinki, Finland. These two competitions hold distinct significance in the violin world: the Paganini emphasizes flawless technique and musical personality, while the Sibelius values structural depth and interpretive insight. Winning both showcases Yang’s comprehensive musical understanding and expressive power.

For Yang, however, competitions are not the endpoint but a springboard for exploring a broader repertoire and musical language. In interviews, he has expressed his interest in composition, stating, “Composing is an important training for maintaining a musical perspective.” In recent years, he has even tried his hand at composing small works. For a violinist, this is more than an additional skill—it’s a way to foster interaction between performance and creation, allowing him to interpret others’ works with a composer’s insight into structure and meaning.

Yang’s repertoire choices clearly reflect his fascination with spanning time periods. His recitals do not focus on a single style but instead create a dialogue by juxtaposing and connecting works from different eras.

This unaccompanied recital is a prime example, featuring pieces from the Baroque era’s Johann Sebastian Bach and Georg Philipp Telemann, extending to the 20th century with Eugène Ysaÿe and Nathan Milstein, and concluding with Heinrich Wilhelm Ernst’s "Grand Caprice on Schubert’s Der Erlkönig". This program transforms the recital into a journey through the “evolution of violin repertoire and technique.” Audiences are not merely enjoying a solo performance but witnessing the transformation of musical styles, techniques, and aesthetics over three centuries.

Yang’s playing balances technical precision with musicality. He does not treat virtuosity as an end in itself but uses complex technical language to serve the music’s narrative. For instance, in Milstein’s "Paganiniana", despite its demanding technical passages, Yang emphasizes melody and tone over sheer speed or power. In Ernst’s "Erlkönig", he showcases his ability to shift timbres and control narrative, blending technique with dramatic tension. His sensitivity to style transitions is equally remarkable: Bach’s works highlight structural rigor and counterpoint, while Ysaÿe’s pieces maintain a similar framework but explore 20th-century tonal freedom. This juxtaposition of classical and modern reflects Yang’s curatorial philosophy: creating a stage where voices from different eras converse.


Yang’s vision extends beyond classical and romantic music to a deep interest in contemporary works. In a Korean media interview, he noted that composing helps broaden his musical perspective, and he has actively collaborated with living composers. During this Taiwan visit, he will premiere Shiuan Chang’s violin concerto "23.5°N, 121°E" with the Taipei Symphony Orchestra. Chang, a classmate from Yang’s time at the New England Conservatory, titled the work after Taipei’s geographic coordinates, paying homage to Taiwan. For Yang, this project not only expands his repertoire but also reflects his commitment to new music and his ongoing musical journey.

Beyond repertoire, Yang’s choice of instrument has also drawn attention. This summer, at the BBC Proms in London, he performed on the “Carrodus” Guarneri del Gesù violin from 1743, once owned by Paganini and acquired by the Stretton Society for loan. Yang described its sound as deep yet unpredictable, perfectly matching the dramatic flair of Pablo de Sarasate’s "Carmen Fantasy". While it’s unclear if he will use this violin in Taiwan, the story of his encounter with this legendary instrument heightens anticipation for how he interacts with different violins to find his unique voice.

In today’s violin world, mastering a full unaccompanied recital is a formidable challenge. Yang’s program allows audiences to traverse the structural beauty of the Baroque, the passionate narratives of Romanticism, and the technical innovations of the 20th century in a single evening. Starting with Bach and Telemann, he highlights music’s purest logic and dance-like qualities; moving to Ysaÿe and Milstein, he blends modern sonorities with romantic virtuosity; and concluding with Ernst’s "Erlkönig", he creates a dramatic soundscape with a single violin. This repertoire demands not only technical mastery but also the ability to craft a cohesive narrative across styles and eras. For audiences, this is not just a concert but an exploration of the violin’s 300-year history through one performer’s lens.

An unaccompanied stage offers no room for error—every note and bow change is laid bare. It tests a performer’s technique, stamina, and stage presence. Only a musician with intense focus, profound musicality, and a mature artistic persona can captivate in this format. Yang’s Taiwan visit showcases his versatility as a “complete violinist.” He can command a solo recital spanning three centuries while collaborating with an orchestra to bring new works to life. From Bach’s structural elegance to Ernst’s dramatic intensity, from Paganini’s legendary violin to Chang’s contemporary creation, Yang’s musical world continues to expand, inviting audiences to explore the past, present, and future of violin music through his artistry.