林秋孜生於台北，1978-1992年於维也纳、茵斯布鲁克、慕尼克深造。不仅取得了维也纳音乐暨表演艺术大学钢琴演奏最高文凭，还被维也纳当地音乐院校授予教职，备受肯定的音乐成就使她在1995年被德国著名钢琴品牌史坦威（Steinway & Sons）列入国际史坦威艺术家名录。因为喜爱巴赫音乐，认为「我们不可能只透过钢琴来了解巴赫」，她还特别前往欧洲巴洛克音乐中心茵斯布鲁克（Innsbruck）深造羽管键琴，从巴洛克时代起，往前追溯古典音乐的起源，并顺利拿到钢琴羽管键琴的演奏与教育双硕士文凭。在此期间，数度亲赴萨尔斯堡国际音乐夏令营与莫斯科音乐学院研习深造。因此，林秋孜的音乐诠释承袭了德、奥、法、俄乐派的精髓，兼具了宽广与深厚。独创的羽管键琴与钢琴同场演出的键盘独奏会形式，在乐坛备受瞩目，演奏足迹遍布世界各地。其对古典音乐的特别悟性和独特的演奏风格，被认为是当今最优秀的钢琴/羽管键琴独奏家之一。典雅的气质、人文涵养及自然流露的音乐性获得了观众极大的回响。
From Vienna to Beijing – Seeking the Root of Music – A Conversation between Piano and Guqin
By Han Fang
Published: November 28, 2011
A concert, The Conversation between Piano and Guqin, was held in the Multi-Function Hall of Peking University Hundred-year Memorial Hall on the night of November 27, 2011. There were two performers, a Taiwan-born pianist, Christiana Lin who had studied music in Vienna for sixteen years and had learnt the essence of German and Austrian music by heart; a guqin player, Wang Peng who had the experience of repairing hundreds of famous ancient guqins and is also a famous guqin performer himself. With the combination of two famous musicians in different fields and the innovative arrangement of the concert, it is easy to imagine how eagerly the audience was looking forward to this particular concert.
Christiana Lin looked dignified and graceful in her white gown.
The concert started from monologues by both instruments. Piano told the story of Vienna while guqin spoke of tales of Beijing. Ms. Lin, dressed in an elegant white gown that made her look dignified and graceful, told stories of how Chopin, Mozart, and Beethoven met with Vienna with her gentle narratives. Then, her piano music began with Chopin’s Nocturne No. 20 in c-sharp minor. The tempo of the nocturne was calm and mature and the rhythm clean and bright. Ms. Lin’s interpretation toward the nocturne was simple but with varied expression to successfully describe Chopin’s ups and downs and his complicated feelings toward Vienna. The melody wasn’t about flamboyance to please the audience, but was full of sincerity from the bottom of her heart. Her Sonata No. 10 in C Major, Movement 1 of Mozart was floating nimbly like watercolour applied on a beautiful mirror and sounded as clear as crystal. Her interpretation toward Sonata No. 17 in d minor, Movement 3 of Beethoven wasn’t your ordinary interpretation. Instead of performed as an anxious tempest, her sonata was played out with a unique touch of feminie tranquillity. Even with medium speed and controlled power, she had skillfully expressed Beethoven’s struggle with the strong expression by her left hand. Last piece of Ms. Lin’s performance was Fugue et Toccata which had been written by Hsu Tsang-Houei, a famous Taiwanese composer. With modern techniques to interpret music written in traditional pentatonic scale, the result was unique in its own right. This concert had built up an atmosphere for multiple dialogues. It not only let the performers and composers to accomplish their dialogue across time, but also managed to make the audience able to see through themselves while also communicating with the performers.
Guqin player Wang Peng performing Chinese classic music
As the other main character in this musical dialogue, guqin had immediately altered the atmosphere once it got on the stage. Mr. Wang Peng with grey hair and in a dark blue traditional Chinese garment looked like an intellectual from Jin Dynasty stepping into the modern time. Ping Sha Luo Yan is a composition which describes views and emotions. With vigorous sound of Guqin, Mr. Wang vividly introduced his audience to a painting of the spectacular scenery of a river in the autumn. Technique of rubbing was generously used in the performance to bring a clear echo which sounded like a big migrating bird spreading its wings. Long Xian Cao is adopted from a masterpiece of the Western Han Dynasty, Zhaojun Departs the Frontier. Its chords were tense in an overall stern mood, plus the airy overtone, to let the melody tell Zhaojun’s complicated emotion. Finally, since Yu Qiao Wenda is all about dialogue, the composition is about two characters conversing. The bright pentatonic scales progressed with different tunes to finally bring out the main theme “disregard all secular gains, and only care about nature.”
The unique enjoyment brought about by piano and guqin playing together
After three tunes, Mr. Wang stepped forward to explain the differences between eastern and western musics to the audience. In very simple terms, he talked about “technique, atmosphere, philosophy”, the three major clues of how to play guqin well. At the end of the performance, the two musicians had successfully combined eastern and western musics by performing a highly experimental Piano & Guqin Impromptu Duet. Guqin was calm and steady, while piano sounded refreshing and sincere. This unique duet had brought the audience enjoyment which they never had experienced before.
The music trip from Vienna to Beijing is not only about tracing back to the very beginning of the masterpieces and music itself, but also about leading the audience to look inside themselves. The concert was all about a dialogue between cultures as represented by piano and guqin, and such an innovative endeavour of the two performers will certainly become a precious and unforgettable memory to those who were lucky enough to witness that night.(Resource: http://www.pku-hall.com/WYPPZZ.aspx?id=1728)