在「有」「無」之間－諾諾《斷片－寂靜，致迪歐提瑪》的靜默美學及其時空感之展現

Between ＂Being＂ and ＂Not Being＂-The Silence Aesthetics and the Expression of its Space-Time Sense in Luigi Nono's Fragmente-Stille, an Diotima

陳希茹(CHEN, Hsi-Ju)

《關渡音樂學刊》 28期 (2018/09) Pp. 1-29

摘要

《斷片－寂靜，致迪歐提瑪》（Fragmente-Stille, an Diotima）是義大利作曲家路易吉．諾諾（Luigi Nono, 1924-1990）於1979/80年間所創作的一首弦樂四重奏。在那個盛行電子音樂以及致力開發有別於傳統樂器發聲法的年代裡，諾諾的回歸弦樂四重奏，顯得獨特。然而，這個作品儘管具有傳統的編制，卻沒有傳統弦樂四重奏所注重的聲部平衡，以及聲部間主題動機的對話與發展；取而代之的，是強調音色、音量、音區、觸絃方式、節奏與速度的混搭，在大量微弱音量、延長記號和休止符的底蘊下，呈現出一種靜默細緻的聲響氛圍。再加上諾諾從十九世紀德國抒情詩人賀德齡（Friedrich Hölderlin, 1770-1843）的詩作中所擷取而出的斷片（fragment），以及運用貝多芬（Ludwig van Beethoven, 1770-1827）、威爾第（Giuseppe Verdi, 1813-1901）和十五世紀尼德蘭樂派（Franco-Flemish school）作曲家歐克該姆（Johannes Ockeghem, c. 1420/25 - c. 1497）的想法或曲調作為素材，使得此作品不單只是斷片與寂靜風格的呈現，而是具有一種獨特的歷史時空感。據此，本文首先從曲中的寂靜手法與斷片風格出發，解析其靜默美學中所蘊含的多層次「有」「無」辯證關係；再嘗試連結樂曲中來自不同時空前輩作曲家與詩人的素材運用，勾勒出在靜默的「有」「無」之間，音樂時空的擴展與壓縮，體現後現代主義的共時性歷史觀。

關鍵字

路易吉．諾諾 ； 斷片 ； 寂靜 ； 時空感 ； 共時性 ； 弦樂四重奏

並列摘要

Fragmente-Stille an Diotima is a string quartet composed by the Italian composer Luigi Nono (1924-1990) in 1979/80. While electronic music is current, and the development of voice production is different from traditional musical instruments, Nono's return to string quartet is unique. However, despite the traditional genre, this work does not show the characteristics of traditional string quartet-sound balance and dialogue and development of thematic motives between the parts; instead, it emphasizes a mix-and-match style of timbre, volume, register, articulation, rhythm, and tempo. Because of frequent subtle low-volumes, fermatas, and rests, the work represents a silent sound atmosphere. Together with the fragments extracted from the poems of the 19th-century German lyric poet Friedrich Hölderlin (1770-1843), and the application of the ideas and tunes of Ludwig van Beethoven (1770-1827), Giuseppe Verdi (1813-1901) and the Franco-Flemish composer Johannes Ockeghem (c. 1420/25 - c. 1497) in the fifteenth century, Nono's work not only represents the fragmentation and silence, but also a unique sense of historical space-time. Based on this, the paper begins with explications of silence technique and fragment style of the work; analyzes the dialectical relationships within multi-level ＂being＂ and ＂not being＂ contained in the silence aesthetics; then try to connect the applied materials of previous composers and poet from different space-time to outline the expansion and compression of music space-time sense between ＂being＂ and ＂not being＂ of silence. In this way the work reflects the synchronic historical view of postmodernism.

並列關鍵字

Luigi Nono ； Fragment ； Silence ； Space-Time Sense ； Synchronicity ； String Quartet

參考文獻

Nono, Luigi. FRAGMENTE – STILLE, AN DIOTIMA. PER QUARTETTO D'ARCHI (1979-1980). Milano: Ricordi, 1980.

Verdi, Giuseppe. QUATTRO PEZZI SACRI. London: Ernst Eulenburg, 1973.

Allwardt, Ingrid. Die Stimme der Diotima. Friedrich Hölderlin und Luigi Nono. Berlin: Kadmos, 2004.

Andraschke, Peter. “Hölderlin 1980. Versuche Hölderlin kompositorisch zu begegnen”. Die Musik Luigi Nonos, hrsg. von Otto Kolleritsch, 145-161. Wien/Graz: Universal Edition, 1991.

Andraschke, Peter. “Hölderlin-Fragmente”. Das musikalische Kunstwerk. Geschichte‧Ästhetik‧Theorie, hrsg. von H. Danuser etc., 743-751. Laaber: Laaber, 1988.