在聲音中，我們看見了風景；在沉默裡，我們聽見了靈魂。
2025年，正值莫里斯・拉威爾（Maurice Ravel）誕生150週年，鋼琴家魏美惠以深刻的理解與細膩的觸鍵，重返這位印象派大師的音樂世界。從回溯古典的優雅、詩意的流動、聲響的實驗，到終將歸於一種近乎哲學的「靜」，她以鋼琴為筆，描繪拉威爾音樂中那無形卻確切的時間感與存在感。這不僅是一張鋼琴專輯，是一面鏡，一場舞，一片空，一縷靜——一趟通往聲音深處的旅程。

鏡，是感知之始，是映照內在與世界的邊界。在拉威爾的音樂裡，它不只是反射影像的平面，而是通往內心深處的湖水——朦朧、流動、無法捕捉。舞，是節奏的靈魂，是生命的擺盪與渴望。每一段旋律，如同風中之舞，旋轉著記憶與幻影。無，是空的深處，是聲音消失後的餘韻，是思想尚未成形之前的寧靜之地。在拉威爾的世界裡，「無」不代表虛無，而是一種未被命名的可能。靜，則是終章，是所有聲響歸於寂然之後的沉思。如同鐘聲遠去，音樂落幕，留下的是凝視宇宙的靜默與敬畏。這四個詞並非並置，而是如一曲組曲般，彼此流動、交錯，構成了拉威爾音樂的詩性結構：從感官至心靈，從形至無形，從生命的律動到存在的寂靜。魏美惠鋼琴下的這四重境界，既是對拉威爾誕生150週年最深情的致敬，也是對時間與藝術永恆對話的注解。

【靜】為已逝公主的孔雀舞曲（1899）
此曲為拉威爾早期代表作，採用宮廷舞曲的形式，悼念一位虛構的西班牙公主。旋律緩慢、語氣含蓄，節奏的優雅隱藏著對過往時光的緬懷與追憶。雖名為「悼念」，卻無沉重哀痛，它象徵的是對「靜」的禮讚——不是死寂，而是時間停頓後的寧靜與尊重，是音樂最深處的沉思。

【無】小奏鳴曲（1903–1905）
《小奏鳴曲》是一部三樂章作品，以古典形式為基礎，展現出拉威爾對結構與簡約的探索。它不帶標題、不作描繪，僅透過音樂本身的邏輯與音色進行敘述。這正是「無」的意涵——絕對音樂的純粹語言，是一種聲音中性的存在，是未說出之物、未命名之境。

【舞】水之嬉戲（1901）
靈感來自李斯特的《噴泉旁的嬉戲》，此作為印象派鋼琴音樂的開端之一。閃爍的音型與絢麗的和聲模擬泉水流動的質地與律動，樂音如微光、如水珠，在跳動之間閃耀出生命的喜悅與自由。這是一場「舞」——來自自然，也來自心靈深處的節奏與悸動。

【鏡】鏡（組曲）（1904–1905）
五首性格各異的小品，構成一幅情感與景象交錯的夢境拼圖：
夜蛾 Noctuelles：迷亂而跳躍的音型，象徵夜中飛蛾的飄忽不定；悲鳥 Oiseaux tristes：哀傷的旋律與灰暗和聲描繪孤鳥的低語；海上孤舟 Une barque sur l’océan：波動的聲響如浪起浪落，載浮載沉於海之深處；丑角的晨歌 Alborada del gracioso：充滿節奏與戲劇性的明亮樂章，是對西班牙文化的詩意回應；鐘谷 La vallée des cloches：疊加鐘聲如迴音繚繞於時空之中，彷彿時間本身在聲響中緩緩擴散。

這五面鏡，映照出拉威爾的靈魂地景與意象深層，是「鏡」之境的終極象徵。

在《鏡》這部組曲中，每一首作品都是一面映照情感與意象的鏡子：夜蛾、悲鳥、海上孤舟、丑角、鐘谷——它們來自自然、神話、內心與時間，如夢境拼圖，又如片段記憶，最終交織成一種獨特的拉威爾語言：透明而複雜、流動又靜止。

在錄音的那幾日，鋼琴的每一次迴響，都像是與拉威爾的靈魂對話。音符不再只是符號，而是空氣中的呼吸、情感的殘影，以及時間的反光。這張專輯是魏美惠對拉威爾最真摯的凝視，也是她獻給所有聆聽者的一場靜默邀請：當萬籟俱寂，音樂仍在，如水流，如夢，如心。

創作緣起｜詮釋者之言
「我總覺得，拉威爾的音樂並不只是要我們聽見，而是要我們穿過聲音，走進他創造的另一個次元。」這張專輯，是鋼琴家魏美惠為紀念拉威爾誕生150週年所特別錄製。她精選幾首橫跨拉威爾早中期的重要鋼琴作品，從《孔雀舞》的古典回響到《水之嬉戲》的聲響實驗，從《小奏鳴曲》的結構光影到《鏡》組曲的夢境迷宮。「我試著不是去控制它們，而是讓它們自己發聲。我只是在旁邊陪著，傾聽，然後把那種聽見的感覺，交給鋼琴。」這不僅是一張紀念專輯，更是一場與拉威爾心靈的靜默對話；在極簡與複雜之間，在留白與流動之間，我們聽見的，或許不是音樂本身，而是音樂之外的存在。


In sound, we see landscapes; In silence, we hear the soul.
In 2025, commemorating the 150th anniversary of Maurice Ravel’s birth, pianist Mei-Huei Wei returns to the world of this Impressionist master with profound understanding and exquisite touch.
From classical elegance and poetic flow to sonic experiments, her journey ultimately arrives at a place of near-philosophical stillness. With the piano as her pen, she sketches Ravel’s elusive yet undeniable sense of time and existence.

This is not merely a piano album—
It is a mirror, a dance, a void, a hush—
A journey into the depths of sound.

Mirror is where perception begins—a surface that reflects both the inner and the outer world.
In Ravel’s music, the mirror is no mere plane of reflection but a lake of consciousness—blurred, flowing, ungraspable.
Dance is the soul of rhythm—the pulse of life and its yearning. Each phrase dances like wind, spinning memories and shadows.
Vacant is the depth of emptiness—the echo after sound fades, the quiet before thought takes shape. For Ravel, “vacancy” is not void, but the space of unspoken possibility.
Tranquil is the final chapter—contemplation after sound has ceased. Like the tolling of a distant bell,music ends, and what remains is a gaze into the universe—silent, awed.

These four words are not isolated.
They flow like a suite,interweaving in poetic structure: From sensation to soul, form to formlessness,the rhythm of life to the stillness of being.

Through Wei’s piano, these four realms emerge as a heartfelt tribute to Ravel’s legacy, and a meditation on the eternal dialogue between time and art.


[Tranquil] Pavane pour une infante défunte (1899)
This early masterpiece is written in the style of a courtly dance, in memory of an imaginary Spanish princess. Its slow melody and restrained tone evoke wistful nostalgia. Though titled a pavane for a “dead” princess, it carries no heavy sorrow—only reverence for “tranquility”: not death, but the quiet dignity of time suspended.

[Vacant] Sonatine (1903–1905)
This three-movement work draws from classical form, offering Ravel’s exploration of structure and restraint. It bears no title or narrative, speaking only through its pure musical logic.
This is the essence of “vacant”— a neutral space of sound, where nothing is named, yet everything exists.

[Dance]Jeux d’eau (1901)
Inspired by Liszt’s Les jeux d’eaux à la Villa d’Este, this piece marks the dawn of Impressionist piano music. Its glittering textures and vibrant harmonies simulate the shimmer and flow of water. Notes sparkle like droplets, dancing with joy and freedom— a “dance” from nature and the soul’s own rhythm.

[Mirror] Miroirs (Suite) (1904–1905)
This suite of five distinct pieces forms a mosaic of dreams and emotions:
Noctuelles: flickering patterns that evoke the flight of night moths
Oiseaux tristes: mournful melodies of lonely birds
Une barque sur l’océan: undulating waves carry a solitary boat across the sea’s depth
Alborada del gracioso: a bright, rhythmic, dramatic tribute to Spanish culture
La vallée des cloches: layers of chiming bells echo across time and space

These five “mirrors” reflect Ravel’s inner landscapes—a journey into his soul’s imagery.

In Miroirs, each piece is a mirror reflecting emotion and imagery—moths, sad birds, ocean vessels, jesters, bells— drawn from nature, myth, memory, and time. They are fragments of dreams and recollections, woven into Ravel’s language: transparent yet complex, fluid yet still.

During the recording days, each piano resonance felt like a dialogue with Ravel’s spirit.
The notes became more than symbols— they were breaths in the air, shadows of feeling, reflections of time.

This album is Mei-Huei Wei’s intimate gaze into Ravel, and a silent invitation to listeners everywhere:
When all falls quiet, music remains—like flowing water, like a dream, like the heart.

[Artistic Note]
By the Interpreter: Mei-Huei Wei

Mirror • Dance • Vacant • Tranquil: Listening Toward Silence

“I’ve always felt Ravel’s music isn’t just meant to be heard— it asks us to pass through sound and enter another dimension he’s created.”

This album was specially recorded to commemorate the 150th anniversary of Ravel’s birth. Pianist Mei-Huei Wei carefully selected key works from his early to mid-career: from the classical echoes of Pavane, to the experimental sounds of Jeux d’eau, from the structural clarity of Sonatine to the dreamlike labyrinth of Miroirs.

“I didn’t try to control the music— I let it speak. I stood beside it, listening, and gave that listening to the piano.”
More than a tribute, this is a silent dialogue with Ravel’s spirit. In the space between minimalism and complexity, between pause and motion, what we hear may not be the music itself, but what lies beyond it.


關於魏美惠Mei-Huei Wei

魏美惠，以詩人之耳傾聽音樂，以哲人之心閱讀聲音。
深受歐陸與美國鋼琴傳統薰陶，她融合細膩音色與結構思維，建立出獨樹一幟的演奏語彙。她的彈奏不以炫技為目的，而是致力於揭示音樂內在的邏輯與靈魂，使每一次演出都如一場深度對話。

魏美惠長年致力於20世紀音樂與印象派鋼琴作品的詮釋，特別關注聲響的詩性與時間的流動。她的演奏常被聽眾形容為：「內斂卻充滿張力」、「如夢似醒之間的清澈意識」。

Mei-Huei Wei listens like a poet, and reads sound with a philosopher’s heart.
Trained in both European and American piano traditions, she blends refined tone with architectural thinking to create a unique voice at the keyboard.
Her playing is never about virtuosity for its own sake— it seeks to unveil music’s internal logic and soul, turning every performance into a deep conversation.

Wei is devoted to 20th-century and Impressionist repertoire, especially the poetic essence of sound and the flow of time.Her interpretations have been described as“restrained yet charged,”“a clarity that hovers between dream and waking.”

製作名單

裝幀設計：吳佳璘
音響工程師 ：吳東晏
調音師：楊文源、蕭瑞典
鋼琴：Grotrian Steinweg G-277
錄音室 : 河鼓數位影音
製作人: 魏美惠

Designer: Chia-Lin Wu
Tonmeister: D.Y. Wu 
Technician: W. Y. Yang, J. T. Hsiao
Piano: Grotrian Steinweg G-277
Recording Studio: Sound Plus Studio
Producer: Mei-Huei Wei