巴赫的線條，孫旻秀的色彩
我常形容巴赫的樂譜像一張著色畫的線稿。他把音符與聲部的結構安排得極為嚴密，卻很少標明速度、強弱與分句，留下很大的空間，讓演奏者用自己的方式為音樂上色。
聽孫旻秀演奏《十二平均律第一冊》，最讓我驚喜的，就是他為這些線條塗上的豐富色彩。許多過去不曾注意到的聲部，在他的演奏中變得鮮明；原本熟悉的樂曲，也因為不同聲部的輕重與層次，讓我聽見意想不到的結構與細節。有時甚至忍不住想，原來巴赫還可以這樣彈、這樣聽！
有幾個段落尤其讓我難忘。音樂中莊嚴的氣氛、層層交織的和聲，加上鋼琴呈現出的豐富音色，竟讓我聯想到莫札特《魔笛》裡的祭司合唱。明明舞台上只有一架鋼琴，聽起來卻彷彿有一群人在歌唱，既有合唱的厚實與莊嚴，又能清楚聽見各個聲部的線條。那一刻，真的有種忘了自己正在聽鋼琴獨奏的錯覺。
2026年10月12日
台北國家音樂廳
巴赫：十二平均律第一冊，BWV 846-869
I often think of Bach’s scores as the outlines of a colouring book. His notes and individual musical voices are arranged with extraordinary precision, yet he gives relatively few indications of tempo, dynamics or phrasing, leaving performers considerable freedom to colour the music in their own way.
What struck me most about Minsoo Sohn’s performance of The Well-Tempered Clavier, Book I was the richness of colour he brought to these lines. Voices I had never noticed before came vividly to life, while familiar passages revealed unexpected structures and details through the subtle balance and interplay of different voices. At times, I found myself thinking: I never knew Bach could be played, or heard, quite like this!
Several passages were particularly memorable. The solemn atmosphere, richly layered harmonies and remarkable range of colours Sohn drew from the piano unexpectedly reminded me of the priests’ chorus in Mozart’s The Magic Flute. Although there was only a single piano on stage, I could almost hear a choir singing, with all its fullness and solemnity, yet with each individual voice remaining beautifully distinct. For a moment, I genuinely forgot that I was listening to a solo piano performance.
12 October 2026
National Concert Hall, Taipei
J. S. Bach: The Well-Tempered Clavier, Book I, BWV 846–869
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