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 Following a thrilled audience’s enthusiastic response to a performance of Handel’s Messiah....     - 德林傑  

 Following a thrilled audience’s enthusiastic response to a performance of Handel’s Messiah, the composer remarked to Lord Kinnoul, “I should be sorry if I only entertained them; I wished to make them better.”  The implication in Handel’s comment is that art music has a moral obligation to improve the character of the listener, to inculcate a passion for that which is beautiful and good.  Plato, in his Republic, wrote that education in the art of music “…is most sovereign, because more than anything else rhythm and harmony find their way to the inmost soul and take strongest hold upon it, bringing with them and imparting grace….”  The great eighteenth-century music master Johann Mattheson asserted that the musician

 

“…must represent virtue and vice with his tones in order to inspire his listeners with love for one and hatred for the other.  For this is the proper purpose of music, to be, above all, a moral lesson.”  Art music is not merely a combination of sounds and silences.  It is fundamentally spiritual communication, the evocation of ideas, images, feelings, and memories that inhabit the inner world of the human heart and mind.  In his Second Epistle to the Corinthians, the Apostle Paul wrote that “…the things which are seen are temporal, but the things which are not seen are eternal.”  Art music fulfills a vital function when it acts upon the spiritual nature of a listener, and this is a process that is sorely needed.  The modern world in which we live is becoming increasingly irreverent, immoral, materialistic, and barbaric.  Society places such an emphasis on temporary phenomena—the pursuit of money, the accumulation of possessions, fame, or one’s appearance and status—that a condition of spiritual poverty prevails in which examples of grace, elegance, selflessness, gratitude, patience, modesty, and even common courtesy are becoming rare indeed.  Music has the power to arouse the conscience, to stir up within the human heart a realization that there is more to life than the satisfaction of physical desire.  If civilization is to endure, if the descent into barbarism is to be checked, if we are to preserve our basic humanity, our generation must not neglect the education and moral development of the inner life, a task for which music is ideally suited.

 

Music hath charms to soothe a savage breast,

               To soften rocks, or bend a knotted oak.

                                                                                                                              ---William Congreve

 

Michael Dellinger

 Fu Jen University

 Music Department

 
- 德林傑教授

 

 131415

現任:輔大音樂系專任教授 

 
開設課程:鋼琴主修、鋼琴演奏專題探討
 
來台任教前簡介:
鋼琴家德林傑為美國俄亥俄州州立大學鋼琴演奏博士,師承Josef Hofmann 之得意弟子Richard Tetley-Kardos, 承襲浪漫派時期以來鋼琴主流樂派的演奏技巧及詮釋風格。

青少年時期起,德林傑即在俄亥俄州當地樂壇嶄露頭角,贏得哥倫布市立交響樂團協奏曲大賽及俄亥俄州音樂協會聯盟鋼琴獨奏大賽,隨後以全額獎學金進入 O.S.U. 俄亥俄州立大學就讀,又以拉赫曼尼諾夫第三號鋼琴協奏曲贏得該州協奏曲大賽,繼續活躍於美國樂界。樂評家稱他是「成熟的青年藝術家」,因其展現了「美麗、 雄偉、豐富、智慧、令人心服的演奏」,亦稱譽其演出為「音樂領域中真正的鋼琴藝術」!

1986年應輔大之聘來台任教:
來台至今,德林傑秉持著對音樂的熱愛,致力於鋼琴音樂研究及教學,豐富的學術涵養及紮實的研究基礎成為其演奏之強力後盾;二十餘年來,其演奏及教學皆深獲 好評,演奏足跡更遍及全台,包括多場在國家音樂廳及國家演奏廳的獨奏會及協奏曲演出,其他演出形式亦多有涉獵,曲目豐富並涵蓋各時期重要作品。 
 
曾任美國文化藝術大使:
1997年初應邀擔任美國文化藝術大使赴烏克蘭各地巡迴演出,包括在基輔與烏克蘭國家交響樂團合作演出柴可夫斯基第一號鋼琴協奏曲,並主持多場鋼琴講座,獲烏克蘭政府頒發榮譽獎章表揚其貢獻。 
 
擔任國內重要音樂比賽評審:
應邀擔任「2004建華愛樂古典菁英」選拔活動之評審委員
應邀擔任「2005台北市立交響樂團第一屆明日之星」選拔之評審
應邀擔任「2006建華愛樂古典菁英」選拔活動之評審委員
應邀擔任「2008永豐愛樂古典菁英獎」鋼琴組複賽評審委員
應邀擔任「2008永豐愛樂古典菁英獎」鋼琴組決賽評審委員 
 

出版鋼琴作品詮釋專書及論文:

 

    1995:「AN INTERPRETIVE ANALYSIS FOR THE PIANIST OF WORKS BY BACH-BUSONI, CHOPIN, HINDEMITH, AND PROKOFIEV 專書

 

    2004:「THE VOCABULARY OF CLASSIC PIANO MUSIC 論文

 

    2007:「A PERFORMER‘S COMPANION TO BEETHOVEN’S PIANO SONATA IN C MINOR OP. 111 專書

 

    2011:「A PIANIST CONFRONTS PEDAL MARKINGS IN EDITIONS OF NINETEENTH-CENTURY PIANO MUSIC 論文


 
 
 

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