莫札特鋼琴協奏曲第一樂章裝飾奏之型式與功能

Mozart: The Function and Formal Structure of Piano Concerto First Movement's Cadenza

李美文(Mei-Wen Lee)

《高雄師大學報：人文與藝術類》 22期 (2007/06) Pp. 223-240

https://doi.org/10.7060/KNUJ-HA.200706.0223

摘要

本研究根據莫札特於維也納時期所創作的鋼琴協奏曲第一樂章中之十四個裝飾奏，探討莫札特在裝飾奏中素材運用的方式、裝飾奏之型式與在協奏曲中之功能。我們並無法確定莫札特為何寫下裝飾奏的真正原因，但從其樂譜中可看到抒情及炫技精神所帶出之對比性，在架構、長度、調性、轉調、素材的運用與音樂表情上，莫札特也頗符合古典時期探討裝飾奏最重要的教學法J. J. Quantz、G. Türk與C. P. E. Bach的建議。
莫札特之裝飾奏大多可分成三段，第一段由協奏曲之主題或炫技段落開始，素材的運用新舊皆有，但和聲上避免使用根音位置，以強調其不穩定性，第一段通常結束於屬七或一級六四和絃，中間樂段會使用協奏曲主題或動機做模進音型，莫札特傾向使用第二主題群如歌式之材料，中間樂段的後半段通常以一級六四和絃開始各種炫技音階、琶音音型帶入結束樂段，結束樂段通常持續前段之炫技段落，結束於屬和絃之長震音。
由此研究發現，在莫札特協奏曲中，裝飾奏的最大功能為獨奏者可於彈奏裝飾奏中參與確立主調與和聲上解決的過程，增強再現部結束前調性的陳述。

關鍵字

莫札特 ； 鋼琴協奏曲 ； 裝飾奏

並列摘要

Mozart wrote fifty-one cadenzas for his own piano concertos, and seventeen of them are for the first movement. The main focuses of this research are to investigate how Mozart utilized the materials in the cadenza, what is the form of the cadenza and what is the function of cadenza within a concerto.
We are not sure why Mozart wrote these cadenzas. However, through analyzing them, they all showed the contrast between lyrical voicing and virtuoso. They are quite fit into the principle and style of the late eighteenth century important treatises such as J.J. Quantz, C.P.E. Bach and D. Türk.
The cadenza of Mozart can be divided into three sections. The first section starts with a theme of the concerto or a virtuosic passage. The uses of materials are either new or derived from the concerto. The harmony such as the root position is to be avoided in order to create the instability. It usually concludes in a dominant fifth or the six-four chord in the first degree and lead into the second section. The following section applies all kinds of sequences by using the themes or motives from the concerto. Here, Mozart prefers materials that derive from the lyrical second theme. All kinds of virtuosic scales and arpeggios that are based on the six four of the first degree will lead the second half of the second section into the last section. The last section should continue the virtuosic passages and lead into the concluded long dominant trill.
Mozart's cadenzas always follow the standard idioms of the late eighteenth-century treatises, regardless of the length, the key, musical materials or the interrelationship within the concerto. Clearly, the function of the cadenza in the first movement of Mozart's concerto the first movement is to reinforce the tonal function at the ending of recapitulation. While playing the cadenza, the piano soloist joins the procedure of confirming and resolving of the final cadence.

並列關鍵字

W.A. Mozart ； piano concerto ； cadenza

參考文獻

Bach, Carl Philipp Emmanuel. Essay on the True Art of Playing Keyboard Instruments. Berlin, 1753, 1762. Trans. by William J. Mitchell, New York: W. W. Norton, 1949.

Badura-Skoda, Eva,Paul,Black, Leo(Trans.)(1962).Interpreting Mozart on the Keyboard.London:Barrie and Rockliff.

Davis, Shelley(1983).H. C. Koch, The Classic Concerto, and the Sonata-Form Retransition.JM.2,45-61.

Drummond, Pippa(1980).The German Concerto: Five Eighteenth-Century Studies.Oxford:Oxford University Press.

Girdlestone, Cuthbert(1952).Mozart and His Piano Concerto.Norman:University of Oklahoma Press.