三位蕭邦大賽得獎者將齊聚台灣：三種選琴，三種音樂性格

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　　二○二五年十月，第十九屆蕭邦國際鋼琴大賽的最後成績在華沙揭曉。今年之所以得到特別注意的原因之一，在於六名得獎人都帶有華人血統。其中金牌得主陸逸軒（Eric Lu）、銀牌得主陳禹同（Kevin Chen）與第五名的王文升（Vincent Ong）都將在十二月來台演出。他們分別代表美國、加拿大與馬來西亞，來自不同文化背景，接受不同教育，也展現不同的音樂性格。觀眾將不僅可以欣賞他們的演奏技巧、音樂曲目的詮釋，更可以品評他們如何透過鋼琴表達自己。值得一提的是，他們在比賽中分別選擇三種不同品牌的鋼琴：法吉歐利（Fazioli）、史坦威（Steinway & Sons）與河合（Shigeru Kawai）。這三種不同選擇並不是小細節，而是直接反映出三位音樂家個性與藝術取向的差別。

　　陸逸軒並非首次在蕭邦大賽露面。二○一五年，十七歲的他在賽事中獲得第四名，是比賽史上最年輕的得獎人之一。二○一八年在里茲國際鋼琴大賽（Leeds International Piano Competition）奪冠之後，除了在華納（Warner Classics）出版數張專輯，也踏上職業音樂家的道路。二○二五年他重返蕭邦大賽，選琴上不同於上一次的山葉與史坦威。這次陸逸軒選擇法吉歐利，主因是華沙愛樂廳的協奏曲場合容易讓鋼琴聲音被掩蓋，而法吉歐利能提供他需要的清晰度與光澤。陸逸軒的音樂以細膩溫暖的音色、清晰的層次著稱，尤其在慢板樂章，線條延伸、聲部分明，呈現出不疾不徐的詩意與內省氣質。評論常形容他的語句連貫，整體結構穩定而深具呼吸感。這些特質也與他在本屆蕭邦大賽選擇法吉歐利的理由相呼應：他需要一台在大型空間中能保持線條清晰、具音色辨識度的鋼琴。多年的專業演出經驗，讓陸逸軒很清楚什麼樣的琴，最能幫他把聲音保持在理想狀態。

　　陳禹同是北美音樂圈相當早受到注目的鋼琴人才，曾經獲得魯賓斯坦國際鋼琴大賽（The Arthur Rubinstein International Piano Master Competition）與日內瓦國際音樂大賽（Geneva International Music Competition）的首獎，是近年少見同時在多個大型比賽上取得亮眼成績的常勝軍。雖然這次在蕭邦大賽中獲得第二名，未能寫下三冠王的紀錄，他的表現仍受到國際媒體高度關注。喜歡數學與科學的陳禹同在本屆比賽全程選擇使用史坦威。決賽前試過賽方提供的五架鋼琴後，覺得史坦威的鍵盤比預期更深，但是彈奏起來相當順手，適合做富心思精心構築的音樂。現場觀眾也留意到，無論在快速或複雜段落，陳禹同都能在史坦威上維持清晰而分明的聲響，動態層次豐富，成為他在比賽中突出的音色特徵。

　　王文升是史上第一位進入蕭邦大賽決賽的馬來西亞鋼琴家，而他自己對這項成就的反應卻相當平實，謙稱「能進決賽，我感到很幸運」。比賽期間，王文升選擇使用 Shigeru Kawai SK-EX，原因來自他對這架鋼琴的熟悉與信任。他提到 SK-EX 的音色溫暖，特別適合蕭邦的作品；Millennium III 敏銳的鍵盤動作，讓他不需要太大力氣便能掌握細微的觸鍵控制。他提到自己之前在法國曾彈過同型號的琴，對於琴的性能有深刻的瞭解，SK-EX 是最能讓他安心演奏的選擇。王文升在比賽中的表現，被外界的評語形容為多層次，並帶有明顯的個人風格，可以看出他對音色的感受度很高，也擅長在樂句中塑造自然的流動感。整體而言，王文升在本屆比賽中的表現，並不是以誇張的舞台效果勝出，而是以踏實的控制力、精確的音色取捨與冷靜台風，呈現出沉穩而自信的風格，並得到現場觀眾相當熱烈的反應。

　　三種不同的鋼琴選擇，不僅帶出三位得獎者的音樂性格，也反映當代鋼琴家對蕭邦音樂詮釋的多元樣貌。台灣觀眾在三場演出中，將能欣賞三位年輕音樂家各有千秋的技藝，並觀察他們如何藉由不同特性的樂器，觀點塑造音色、回應蕭邦、並塑造屬於自己的聲音。在蕭邦大賽之外，他們原各有成長的道路，而今年的台灣舞台，正是看見那三條道路如何在蕭邦音樂中交會，又各自有獨立發展方向的最好時機。

In October 2025, the results of the 19th International Chopin Piano Competition were announced in Warsaw. One reason the event drew exceptional notice this year was that all six prize-winners were of Chinese heritage. Among them, gold medallist Eric Lu, silver medallist Kevin Chen, and fifth-prize winner Vincent Ong will all appear in Taiwan this December. Representing the United States, Canada and Malaysia respectively, they come from differing cultural backgrounds, have received contrasting musical training, and embody distinct artistic temperaments. Audiences will not only hear their technical command and interpretations of Chopin, but will also encounter the personal voices they articulate through the instrument. It is worth noting that the three pianists selected three different piano makers during the competition—Fazioli, Steinway & Sons, and Shigeru Kawai. This was no incidental detail, but a clear reflection of their individual personalities and artistic priorities.

Eric Lu is no stranger to Warsaw. In 2015, at the age of seventeen, he won fourth prize, becoming one of the youngest laureates in the competition’s history. Following his victory at the Leeds International Piano Competition in 2018, he released several albums on the Warner Classics label and embarked on a full-time concert career. Returning to the Chopin Competition in 2025, he chose a different instrument from his previous appearances on Yamaha and Steinway. This year, Lu selected a Fazioli, largely because the acoustics of the Warsaw Philharmonic Concert Hall can cause the piano sound to recede in concerto settings, while a Fazioli offers the clarity and sheen he requires. His playing is admired for its warm, finely textured sound and its transparent layers. In slow movements, he is particularly noted for long-breathed phrasing, lucid textures, and a quiet sense of poetic introspection. Critics often describe his playing as flowing naturally, structurally poised, and full of breath. These qualities align closely with his choice of instrument: he needs a piano that preserves tonal clarity and definition in a large hall. Years of professional experience have made him precise about which instrument best supports his ideal sound.

Kevin Chen has long been recognised in North America as a remarkably accomplished young pianist. He has taken first prize at both the Arthur Rubinstein International Piano Master Competition and the Geneva International Music Competition—an unusually distinguished record across major international contests. Although he placed second in Warsaw this year, falling just short of a rare “triple crown”, his performances nonetheless attracted considerable attention. Chen, who has a fondness for mathematics and science, chose to play a Steinway throughout the competition. After trying all five pianos provided by the organisers before the final, he found the Steinway’s keys deeper than expected yet entirely responsive—an instrument well suited to carefully shaped, thoughtfully constructed interpretations. Listeners also observed that, whether in fast or intricate passages, Chen maintained a clear, well-defined sound with a wide dynamic range. This became one of the most distinctive features of his performances. 

Vincent Ong is the first Malaysian pianist ever to reach the finals of the Chopin Competition. Yet he responded to this milestone with characteristic modesty, remarking simply that he felt “fortunate” to have reached the final round. During the competition, he chose the Shigeru Kawai SK-EX, a decision grounded in familiarity and trust. Ong noted that the SK-EX possesses a warm tone particularly suited to Chopin, and that its highly responsive Millennium III action allows him to control delicate nuances with minimal physical effort. Having previously played the same model in France, he already had a strong sense of its capacities, making it the instrument on which he felt most at ease. His playing in Warsaw was widely described as multi-layered and personal, marked by a keen sensitivity to colour and a natural sense of musical flow. He did not rely on theatrical gesture or overt display; instead, he impressed through assured control, thoughtful tonal choices and a composed stage presence—qualities that earned him an enthusiastic reception in the hall.

Taken together, these contrasting piano choices reveal not only the musical personalities of the three prize-winners but also the broader diversity with which today’s pianists approach Chopin. At their forthcoming concerts in Taiwan, audiences will be able to observe how each artist—working with a different instrument—shapes tone, responds to Chopin, and forms a voice of his own. Beyond the competition, each pianist has followed an individual path. This year’s performances in Taiwan offer a rare chance to see how these three distinct journeys intersect in Chopin’s music, while continuing to develop in their own directions.