波特西尼生平與美聲唱法的關係，暨升f小調低音提琴協奏曲之樂曲分析、版本研究與名家演奏詮釋分析

A Study of Giovanni Bottesini,His Works with Bel Canto Style, Structural, Interpretational and Edition Research on his Double Bass Concerto in #f minor

卓涵涵(Han Han Cho)

指導教授 ： 饒大鷗

國立臺北藝術大學/音樂學院/管絃與擊樂研究所碩士班/碩士(2006年)

https://doi.org/10.6835/TNUA.2006.00032

摘要

波特西尼 (Giovanni Bottesini, 1821-1889) 身兼義大利著名低音提琴家、指揮家與歌劇作曲家、作曲家於一身。他的作品，是所有低音提琴曲目中，最受到低音提琴家們青睞，也是最常被演出的作品。同時，波氏作品大量廣泛應用低音提琴的泛音列；旋律多採集自歌劇詠嘆調，具有如歌般的美聲唱法式旋律；鋼琴伴奏或器樂伴奏多為輕巧而不厚重的方式鋪陳；建立起波特西尼作品在低音提琴曲目中不墜的地位。

我之所以選擇了波特西尼－十九世紀最偉大的低音提琴家，以及他規模最大的協奏曲來做為研究主題，主要原因在於，我希望寫出台灣第一篇將波特西尼的生平以中文詳盡介紹的論文，能將他的生平大事盡可能完整地以中文呈現是我的一個心願。波特西尼的作品是低音提琴學子們都必須學習的經典作品，他的升f小調協奏曲，可說是他的協奏曲中發展最為完整，且結構最為緊密的一首。在此，我將介紹波特西尼的生平；分析波特西尼樂曲和美聲唱法之間的關係；提出升f小調協奏曲的幾項問題；並且分析該曲曲式；最後比較版本之間的異同處與演奏權威詮釋與市面版本之不同處。最後並提出結論。

關鍵字

低音提琴 ； 波特西尼 ； 玻特西尼 ； 美聲唱法 ； 協奏曲

並列摘要

Preface
My Thesis bases on the History, Analysis, and the interpretation of Bottesini’s Concerto in f# minor. It also includes a survey of the relationship between Bottesini’s works and the bel canto style. Basically, I emphasize on two subjects, the life of Bottesini and the main debate of the order of Bottesini’s f# Concerto. To be precise, there is no bass history in Chinese, not to mention Bottesini’s biography. Therefore, it is reasonable to approach a thesis that has a wide application.

Part I
Outline of the Thesis

Following is the Outline of my thesis:
Introduction
Chapter One: The Life of Giovanni Bottesini
A) Youth, School Time, Debut Concert
B) Orchestral Bassist and Itinerant Musician’s Life
C) First Journey to American Continent (1846-1849)
D) London Debut
E) Conductor and Opera Composing (1853-1856)
F) More Operas, Conducting Works and Touring as Bassist (1856-1870)
G) Franco-Prussian War (1870-1871)
H) Taking Refuge in England
I) In Egypt, Aida
J) Composer in Italy
K) Director of Royal Conservatory in Parma and his Last Years
Chapter Two: The Connection between Bottesini’s Work and “Bel Canto Style”
A) Bel Canto and the Relation between String Instruments
a) Breathing
b) Resonance
c) Vowel- Formation and “Attack”
d) Sostennuto- Sustanied tone
e) Legato- Slow Scale, registers
f) Portamento
g) The “Messa di Voce”
h) Coloratura, ornaments
The Bottesini’s Connection to Bel Canto
Chapter Three: The Analysis of Concerto in #f minor
A) The main debate: Is it No.1?
B) Analysis
First Movement
Second Movement
Third Movement
C) The differences among Editions
D) From the Orchestral point of view
Chapter Four Performing interpretation
A) Several Editions in Sound Recordings
B) Interpretation from author

Part II
The Part of Main Debate in Chap. 3

Publications consider the Bottesini’s #f minor Concerto as Concerto No.1. Let us look at the subject from a different angle, is it No.1? Three of Bottesini’s concertos were published. Let us look at all these concerto as a whole. For example, if we follow the instruction of Grove Music Dictionary, we will get Botteini’s concertos in this order:
“ Concerto in f# minor, (London 1892)
- Concerto no.2 in b minor, (Vienna, 1950) "also as Concerto in c minor
- Concerto in bravura (Vienna 1950)"-- Passione Amorosa is from concerto di bravura "
If we regard this evidence as correct, it would be untrue to verify a hypothesis from this point of view.
Regards the evidence from my reasearch:the figure extracts from the programme book for the Philharmonic Society, London, Monday, May 8, 1871, We can safely say that, Bottesini’s #f minor Concerto was written in 1867 in St. Petersburg .
Figure 1: One possibility is to assume that at least 2 more concertinos had been performed before #f. (One in 1851 and the other in 1853, both in London). In fact, according to 1853’s review: “the new concerto is well orchestrated and pleasant to listen ”. It seems quite probable that these two performances, 1851 and 1853, were different repertoire. Now, one possibility is to assume that Concerto in Bravura is the first one, and concerto in b minor came after that. Or another possibility is that b minor is earlier than Concerto di Bravura. Indeed, we encounter difficulties when we try to explain some of the conclusion. But there is one thing for sure, in short, the Concerto in #f is the last concerto, not the earliest.

並列關鍵字

Bottesini ； Double Bass ； Bel Canto ； Concerto in #f minor ； Concerto No.1

參考文獻

Brun, Paul. A New History of Double Bass. Dallas, TX: Paul Brun Productions, 2000.

Harris, Owen Jander and Ellen T. "Bel Canto." Grove Music online.

Houska, Anthony. "Bottesini Musical Quotation and Autograph." London, 2000.

Klein, Herman. Herman Klein and the Gramophone: Being a Series of Essays on the Bel Canto (1923), the Gramophone and the Singer (1924-1934), and Reviews of New Classical Vocal Recordings (1925-1934), and Other Writings from the Gramophone., ed. Edited and with a Biographical Sketch by William R. Moran and Reinhard G. Pauly. Portland, OR Amadeus Press, 1990.

Sarnaker, Benedict. "Onslow, Georges." In the New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, online database. Taunton, MA: Quebecor World, 2001