- 學位論文
孟德爾頌《G 小調第一號鋼琴協奏曲 作品二十五》之分析詮釋
An Analytical Interpretation of Felix Mendelssohn’s Piano Concerto No. 1 in G minor, Op. 25
摘要
孟德爾頌(Felix Mendelssohn, 1809–1847)為早期浪漫樂派的著名作曲家之一，在 他短短的一生中，創作了許多知名樂曲。儘管孟德爾頌創作了不少協奏曲，但正式出 版的僅三首。本論文以孟德爾頌的《G 小調鋼琴協奏曲，作品二十五 》為研究對象， 藉著梳理作曲者之生平經歷與創作處境、分析此作品之樂曲結構與音樂語法，以及比 較現代鋼琴家對此曲的演奏詮釋，旨在多方位地深入探究此曲以及對其有更全面的認識，藉此提升筆者在自身畢業鋼琴音樂會上的詮釋。 本論文共分為五章。第一章闡述研究動機與目的、方法、範疇及限制，並探討相 關文獻。在此基礎上，第二章介紹孟德爾頌的生平以及音樂生涯，簡述了協奏曲從巴 洛克、古典到初期浪漫的結構發展，以及孟德爾頌《G 小調鋼琴協奏曲》的創作背 景。第三章是本論文的核心，逐步分析了《G 小調鋼琴協奏曲》的每個樂章，並闡述 了曲式、結構、動機、調性及和聲等方面的特點。第四章以五位鋼琴家 — 塞爾金、佩 拉西亞、郎朗、王羽佳及多芙甘為例，對他們在速度、踏板運用、音色等方面的詮釋 進行分析和比較。最後，第五章對本論文進行研究成果的總結，並提出了進一步研究 的建議和展望。
並列摘要
Being one of the most renowned composers of the early Romantic period, Felix Mendelssohn (1809–1847) created many remarkable compositions despite his short life. Within this collection of musical works, Mendelssohn composed several concertos, although only three of them were officially published. This thesis aims to thoroughly investigate Mendelssohn's Piano Concerto No. 1 in G Minor, Op. 25. The initial focus will be on his biography and the background surrounding the creation of this piece, followed by a detailed analysis on the concerto's structure and musical characteristics. Additionally, an extensive exploration of various modern pianists’ interpretations of the piece will be conducted, providing a comprehensive understanding of the work from multiple perspectives. As a result, this research will enhance the writer’s interpretation and performance of the concerto during her graduation recital. This thesis is organized into five chapters. The first chapter serves as an introduction, presenting the research purpose, methods, scope, and limitations. It also examines relevant literature related to Mendelssohn's work. Building upon this foundation, the second chapter delves deeply into Mendelssohn's life and music career by exploring the evolution of the concerto form from the Baroque period to the early Romantic period, providing background information on Mendelssohn's Piano Concerto No. 1 in G Minor, Op. 25. The third chapter forms the core of this thesis, offering a comprehensive analysis of each movement of the concerto. It examines the characteristics of the piece, including its musical form, structure, motifs, tonality, and harmony. The fourth chapter investigates the interpretations of five renowned pianists: Rudolf Serkin, Murray Perahia, Lang Lang, Yuja Wang, and Alexandra Dovgan. A comparative analysis will be conducted based on criteria such as tempo, articulation, pedal usage, and harmony balance. Finally, the fifth chapter summarizes the research findings and provides implications and suggestions for future research in related fields.