学院键盘乐器探秘

A Conversation on the Harpsichord, Clavichord, and Organ

在音乐学院，键盘乐器的世界远不止现代钢琴。羽管键琴的清亮颗粒感、击弦古钢琴的细腻触键、管风琴的宏大声场……这些兼具历史厚度与独特音色的键盘乐器，不仅拓展着学生对音乐风格、演奏法与声音美学的理解，也为学院教学、研究与艺术实践提供了更丰富的可能。

本次采访邀请香港中文大学（深圳）音乐学院钢琴与键盘学部助理教授Michael Tsalka和讲师牛宇涵，一同走近学院的早期键盘乐器，听他们聊聊这些“特别的琴”如何进入课堂、舞台与学生的音乐成长之路。

At the School of Music, CUHK-Shenzhen, the world of keyboard instruments extends far beyond the modern piano. The bright and articulate sound of the harpsichord, the refined touch of the clavichord, and the magnificent resonance of the organ all offer students unique ways to understand musical style, performance practice, and sound aesthetics.

In this feature, we invited Michael Tsalka, Assistant Professor, and Yuhan Niu, Lecturer, from the Piano and Keyboard Division to introduce several distinctive keyboard instruments at the School and share how they contribute to teaching, research, and artistic practice.

Click to watch the full interview

采访 | MUS学生新媒体中心 李诺

摄影、剪辑 | MUS学生新媒体中心 张敬浛

从现代钢琴出发，为什么要认识历史键盘乐器？

Why Historical Keyboards Matter

在过去四年中，Michael Tsalka教授在学院钢琴与键盘学部任教，主要从事钢琴及早期键盘乐器相关教学与研究。他表示，在世界范围内，许多顶尖大学、音乐学院的体系中，都收藏并使用丰富的历史键盘乐器，包括羽管键琴、击弦古钢琴、古钢琴、管风琴、方形钢琴等。

Michael Tsalka教授

Prof. Michael Tsalka

在他看来，这些乐器并不是“过去式”，而是理解音乐传统的重要入口。“我们可以从这些乐器中学习很多内容，包括经典论著、演奏风格与即兴演奏。这样的传统在欧洲至少已经延续了四五十年。我很高兴，我们也正逐步加入这一传统。”

历史键盘乐器的加入，意味着学生能够以更接近作品创作语境的方式，重新理解不同时期的音乐语言。对于现代钢琴学习者而言，这不仅是乐器种类的拓展，更是一次关于触键、速度、层次、衔接与即兴思维的系统训练。

Prof. Michael Tsalka has taught in the Piano and Keyboard Division over the past four years, specializing in piano and early keyboard performance. He noted that many leading universities, music schools, and conservatories around the world maintain important collections of historical keyboard instruments, including harpsichords, clavichords, fortepianos, organs, and square pianos.

For him, these instruments are not merely objects from the past. They are essential gateways to understanding musical traditions. “There is so much that we can learn from these instruments—from reading great treatises, learning about style, and studying improvisation. I am delighted that we will slowly join this tradition also in the south of China.”

The presence of historical keyboards allows students to engage more closely with the musical language and context of different periods. For modern pianists, this opens new perspectives on touch, tempo, layer, articulation, and improvisation.

羽管键琴与击弦古钢琴：打开早期音乐之门

Harpsichord and Clavichord: Opening the Door to Early Music

谈及学院现有的羽管键琴与击弦古钢琴，Tsalka教授介绍，学院的羽管键琴由美国制琴师Bruce Kennedy制作。Kennedy现居意大利托斯卡纳，是当今世界重要的羽管键琴制琴师之一。该琴为双层键盘羽管键琴，复制自德国制琴师Mietke的乐器，原件现收藏于柏林夏洛滕堡宫。

学院的击弦古钢琴则由日本制琴师山野辺晓彦（Akihiko Yamanobe）制作。Tsalka教授介绍，山野辺晓彦长期致力于击弦古钢琴制作，并逐渐形成了独特的制琴风格。击弦古钢琴常被视为训练演奏者触键控制与音乐表达的重要乐器。Tsalka教授特别提到，卡尔·菲利普·埃马努埃尔·巴赫曾指出，若想成为出色的管风琴家、古钢琴家或羽管键琴家，击弦古钢琴是一件必须真正掌握的乐器。

演奏者：冯若中（第八书院 音乐学院 2024级本科生），现为Michael Tsalka教授现代钢琴与早期键盘课程的学生；学院将开设选修课程，进一步推动早期键盘乐器教学与研究发展。

Performer: Feng Ruozhong (Eighth College, School of Music,

Undergraduate Student of the 2024 Cohort) is currently a student in Prof. Michael Tsalka’s Modern Piano and Early Keyboard Studio Class. The School will launch electives to further promote the study of early keyboard instruments.

Prof. Tsalka introduced the School’s harpsichord, built by Bruce Kennedy, an American maker now based in Tuscany and recognized as one of the finest harpsichord builders in the world. The instrument is a double-manual harpsichord modeled after an instrument by the great German builder Mietke, whose original is housed in Schloss Charlottenburg in Berlin.

The School’s clavichord was built by Akihiko Yamanobe, a Japanese maker based near Tokyo. According to Prof. Tsalka, Yamanobe has dedicated several decades to building clavichords and has developed his own distinctive style. The clavichord is often regarded as an essential instrument for developing touch control and expressive sensitivity. Prof. Tsalka quoted Carl Philipp Emanuel Bach, who stated that to become a fine organist, fortepianist, or harpsichordist, one must truly master the clavichord.

它们适合演奏什么作品？

What Repertoire Do These Instruments Serve?

对于“哪些作品最适合这些乐器”这一问题，Tsalka教授表示，这本身就是一个可以展开很久的话题。他提到，现代钢琴学习者在接触巴洛克时期作品时，常常从约翰·塞巴斯蒂安·巴赫和多梅尼科·斯卡拉蒂等作曲家的作品开始。但事实上，自约1500年起，早期键盘乐器已经积累了近250年的丰富曲目，其中包含大量值得深入研究和演奏的作品。与此同时，20世纪和21世纪也有许多当代作曲家为这些历史键盘乐器创作新作品。“当你有机会在古钢琴或羽管键琴上细腻地演奏时，你会彻底改变对速度、触键、音乐层次、衔接和即兴的理解。”在他看来，将这些乐器纳入学院的教学与学术对话，有助于学生从更宽广的历史视野与声音经验中理解音乐，也让他们的双手、思维乃至内心，逐渐建立起更丰富的艺术感知。

When asked what repertoire is best suited for these instruments, Prof. Tsalka noted that the question could lead to a very long discussion. He explained that modern pianists often begin their study of Baroque repertoire with works from around the 1720s to 1740s, especially those by Johann Sebastian Bach and Domenico Scarlatti. Yet the early keyboard repertoire extends much further back, with nearly 250 years of music from many important composers beginning around 1500. He also emphasized that the 20th and 21st centuries have produced a significant body of contemporary music written specifically for these instruments. “When you have the chance to play carefully on a fortepiano or a harpsichord, you completely change the way you understand tempi, touch, different layers, articulation, and improvisation.” For Prof. Tsalka, bringing these instruments into teaching and artistic conversation is of great importance. They help shape not only students’ hands and minds, but also their musical sensitivity and imagination.

走进管风琴专用房：622根音管背后的声音建筑

Inside the Organ Room: A Sound Architecture of 622 Pipes

除羽管键琴与击弦古钢琴外，管风琴也是学院极具特色的教学设施之一。牛宇涵老师是管风琴演奏者，同时任教于钢琴与键盘学部。她介绍，学院管风琴专用房中的这台管风琴，由奥地利里格尔制琴公司（Rieger Orgelbau）为该空间量身定制，主要用于练习与教学。

牛宇涵老师

Ms. Yuhan Niu

从外观到内部音响设计，这台管风琴均呈现巴洛克风格。它拥有两层手键盘、一层脚键盘，两侧设有音栓，共12组音栓，其中包括1组共享音栓。令人惊叹的是，这台管风琴共有622根音管。在正面看到的音管，只是其中一部分；在可见音管背后，还有许多隐藏于琴体内部的音管，共同构成了管风琴丰富而立体的声响世界。此外，这台管风琴还配备了先进的音栓储存系统，可储存不同音栓组合，方便学生练习，也有助于教师开展教学。

In addition to the harpsichord and clavichord, the organ is one of the School’s most distinctive teaching facilities. Ms. Yuhan Niu, an organist and faculty member of the Piano and Keyboard Division, introduced the organ located in the School’s dedicated organ room. Custom-built for this space by Rieger Orgelbau in Austria, the instrument is designed for both practice and teaching.

The organ is Baroque in style, not only in its appearance but also in its stop configuration and voicing. It has two manuals, one pedalboard, and 12 stops, including one shared stop. Most strikingly, the organ contains 622 pipes. The visible pipes in front are only part of the instrument; many more are hidden behind them, together creating a rich and multidimensional sound world. The organ is also equipped with an advanced stop combination system, allowing different registrations to be stored. This supports students’ practice and enables more efficient teaching.

学管风琴，需要练什么？

What Does It Take to Study the Organ?

管风琴演奏常被称为“手脚并用”的艺术。牛宇涵老师表示，在专业学习中，学生首先需要具备良好的核心控制能力。由于演奏过程中双脚需要在脚键盘上进行演奏，不能像普通坐姿那样自然放松在地面上，因此演奏者必须通过核心力量维持手、脚与身体整体的平衡。

除此之外，学生还需要深入理解音栓与配器法。不同作品因风格、时代与乐器特性不同，对音栓组合的要求也各不相同。演奏者需要通过大量曲目学习和不同乐器上的实践，逐步掌握如何在具体的管风琴上实现恰当的声音配置。

牛宇涵老师还特别强调了“适应能力”的重要性。“没有两台管风琴是完全一样的。每一台琴都是独一无二的，它所在的空间也是独一无二的。”因此，管风琴演奏者不仅要适应乐器本身，也要快速判断空间声学条件，并在演奏中作出相应调整。

演奏者：李诺（第八书院 音乐学院 2026届硕士毕业生）

Performer: Li Nuo (Eighth College, School of Music, Master’s Graduate of the Class of 2026)

Organ performance requires precise coordination between the hands and feet. Ms. Niu explained that strong core control is essential, as the feet cannot simply rest on the floor during performance. Instead, the performer must maintain balance through the core while coordinating the hands, feet, and entire body.

Students must also develop a deep understanding of stops and registration. Each piece requires different registration choices depending on its style, period, and musical character. This ability is developed through extensive repertoire study and hands-on experience with different instruments.

Ms. Niu also emphasized adaptability. “No two organs are exactly alike. Every organ is unique, and so is the space it is placed in.” Organists must therefore adapt not only to the instrument itself, but also to the acoustic properties of the space in which it is played.

Michael Tsalka教授（中）、牛宇涵老师（右）和学生记者李诺（左）

Prof. Michael Tsalka (center), Ms. Yuhan Niu (right), and student interviewer Li Nuo (left)

从现代钢琴到羽管键琴、击弦古钢琴，再到管风琴，键盘乐器的发展史本身就是一部跨越时代的音乐史。这些乐器进入学院的教学与艺术实践，不仅为学生提供了更丰富的声音体验，也帮助他们在不同时期、不同风格、不同演奏法之间建立联系。香港中文大学（深圳）音乐学院将继续依托国际化师资与专业化教学资源，推动多元键盘艺术的发展，为学生打开更广阔的音乐视野。

From the modern piano to the harpsichord, clavichord, and organ, the history of keyboard instruments is also a history of musical imagination across time. By integrating these instruments into teaching and artistic practice, the School of Music provides students with broader sonic experiences and deeper historical perspectives. Through international faculty expertise and professional resources, the School will continue to support the development of diverse keyboard traditions and open new possibilities for musical learning and artistic exploration.

供稿：宣传办公室

编辑：宣传办公室

审核：院长办公室

（刘立庆）