- 學位論文
多美尼可‧斯卡拉第五首奏鳴曲分析與詮釋
The Analysis and Interpretation of Five Keyboard Sonatas by Domenico Scarlatti
摘要
西元1685年，誕生了三位偉大的作曲家，除了大家熟知的巴赫（J. S. Bach）與韓德爾（Händel）外，還有寫了545首鍵盤奏鳴曲的斯卡拉第（D. Scarlatti）。斯卡拉第雖不是出生於西班牙，但他的鍵盤奏鳴曲卻充滿了西班牙的民族風味，尤其是吉他音樂也成為他創作中重要的元素，這必然與他的一生經歷有著極密切的關係。除此之外，斯卡拉第使用許多超越當時鍵盤樂器「大鍵琴」的技巧手法在他的奏鳴曲中，將大鍵琴的音域及技巧發揮到極限，如雙手交叉遠距離跳躍、雙手在同一聲部快速地交替貼近彈奏、快速地重複同音等等，這些技巧在現今的鋼琴上仍然是需要練習的技巧，也是所有演奏家必須具備的技巧。 在18世紀，所盛行的是以若干舞曲組成的組曲，但斯卡拉第用卻用奏鳴曲做標題，此原因需從鍵盤奏鳴曲的起源與發展，至18世紀當代所常用的舞曲形式來分析斯卡拉第的奏鳴曲創作手法及特色與曲式，了解其奏鳴曲和當時的在巴洛克時期所常用的組曲是否有相關聯處。 斯卡拉第的其中五首鍵盤奏鳴曲，分別是L. 413/ K. 9、L. 108/ K. 213、L. 422/ K. 141、L. 449/ K. 27與L. 465/ K. 96，這五首奏鳴曲包含了許多西班牙吉他元素與較困難的彈奏技巧，藉由分析曲式與探討演奏詮釋得以透視這些部分。
並列摘要
In 1685, three great composers were born. In addition to the well-known J. S. Bach and Händel, there was also one composer—Domenico Scarlatti, who had composed 545 keyboard sonatas. Although Scarlatti was not born in Spain, his keyboard sonatas are filled with Spanish ethnic style. Guitar music is especially an important factor in his compositions— throughout his life. Furthermore, in his sonatas, D. Scarlatti utilized many keyboard techniques and skills that had almost surpassed the capacity of the harpsichord at that time, in which the gamut and the skill of harpsichord playing could be explored to an extreme, for example, long-distance jumping with hand-crossing, quick hand alternations during fast passages, repeating the same note swiftly, etc. In contemporary piano playing, such skills remain essential for advanced piano players, also the prerequisite skills for all the players. In the 18th Century, suites consisting of several pieces of dance music prevailed. However, Scarlatti titled his compositions as sonatas. As for the reason, by analyzing Scarlatti’s unique compositional methods, and musical forms in his sonatas, and compare them with 18th Century keyboard and violin suites, the author wishs to understand whether there is any correlation between his sonatas and the suites commonly-composed at that time in Baroque Period. The five keyboard sonatas by Scarlatti studied in this report are: “L. 413/ K. 9”, “L. 108/ K. 213”, “L. 422/ K. 141”, “L. 449/ K. 27”, and “L. 465/ K. 96”. These sonatas include many Spanish guitar music characteristics as well as the more difficult playing skills. Through formal analysis and the exploration of performance interpretation, these aspects can be better understood.