鶼鰈情深——創作與人生路上的知音 Lifelong Companion — Love, Music, and the Quiet Strength Beside Him
在馬水龍的創作之路上，不乏與演奏家的合作，而馬水龍夫人除了以演奏 者身分扮演詮釋樂曲的角色外，也是馬水龍的音樂創作、職業生涯最重要的支 持者。許子珍與馬水龍的認識，源於藝專時期，許子珍高他一屆，但 20 歲才進 藝專的馬水龍卻大她四歲。兩人同為基隆通學生，在火車上難免不期而遇，在 那個保守的時代，兩人並無交往，特別是許子珍內向、含蓄，而馬水龍也忙於課業和夜間工作。真正進一步併出火花，應該是馬水龍的畢業音樂會，他的《奏鳴曲》(為小提琴與鋼琴)，找上了許子珍，而她接下了樂譜。那已是 1965 年了。馬水龍認識她二哥子義，三不五時藉口到許家走走;許子珍畢業後在基 隆三中教書，同事李哲洋是馬水龍的舊識，他也不時去基隆三中找老朋友聊聊，就是要看看心儀的對象。許子珍在最近的閒聊時，才透露「馬老師很有恆心」。
他們於 1969 年 3 月結為連理，馬水龍的鋼琴曲《雨港素描》第三樂章〈撿 貝殼的少女〉，就是愛妻。他也曾在公開的場合敘述，所有的鋼琴曲都是為妻 子所寫。婚後的許子珍生下二子，並支持丈夫出國深造，獨自扛下家中經濟和 照顧老幼的重擔。馬水龍的早期鋼琴曲多半是由許子珍校訂、首演、錄製唱片 發行。2015 年 5 在他過世之後，許子珍深藏哀傷，堅定而持續整理他的遺作與資料，遵守他的遺願，守護並出版他的作品。
Throughout his creative journey, Ma Shui-Long collaborated with many outstanding performers. Yet no partnership was more enduring or meaningful than that with his wife, pianist Hsu Tze-Jeng. Beyond interpreting his works on stage, she was also his closest confidante and most steadfast supporter—both in music and in life.
Their story began during their student years at the National Taiwan Academy of Arts. Hsu, though a year ahead in school, was four years younger than Ma, who had entered the academy at the age of twenty. Both commuted daily from Keelung, often crossing paths on the train. In that more reserved era, their encounters were brief and formal—especially since Hsu was shy and soft-spoken, and Ma was preoccupied with classes and his night-shift job.
The true spark came in 1964, when Ma invited Hsu to perform in his graduation recital, asking her to premiere his Sonata for Violin and Piano. She accepted the score, and the connection deepened from there. Ma also happened to know her elder brother and would occasionally drop by the Hsu household under the pretense of visiting. After graduation, Hsu began teaching at Keelung Municipal Third High School, where Ma’s friend Lee Zhe-Yang also worked—offering yet another reason for Ma to visit. In recent conversations, Hsu has modestly revealed, “Mr. Ma was truly persistent.”
In March 1969, the couple were married. Ma later dedicated the third movement of A Sketch of the Rainy Harbor, titled The Girl Collecting Seashells, to his beloved wife. In public, he once expressed that all of his piano works were written for her. After their marriage, Hsu gave birth to two sons and shouldered the responsibilities of the household, allowing Ma to study abroad while she remained in Taiwan caring for their children and elders.
Many of Ma’s early piano works were edited, premiered, and recorded by Hsu. Even after Ma Shui-Long passed away in May 2015, Hsu quietly carried her grief and continued to organize and preserve his manuscripts and archives. With unwavering dedication, she has honored his wishes, safeguarding his legacy and ensuring the publication of his work—an enduring testament to love and devotion.
