Sigfrid Karg-Elert的《熱情》奏鳴曲作品140分析及詮釋

出生於19世紀末的Sigfrid Karg-Elert (1877-1933)在創作上繼承了浪漫樂派後期的主觀、自我等的風格，雖然在形式上有許多突破浪漫樂派的風格，但是在創作技法上似乎仍未擺脫傳統的影響；他的作品雖然看似材料簡單，但是往往卻能充分運用而做成相當出色的傑作，只可惜，生於一個政治情況相當敏感的時代的他，只因為作品中有些取材或標題於非本土德奧體系的音樂而使他在自己的國家一直得不到青睞；他的作品大多都是管風琴或是簧片風琴曲，其它器樂曲比較少，這首無伴奏的長笛奏鳴曲更是難得可貴，而其中變化多端的風貌和複雜的結構對長笛學習者來說著實有一探究竟的吸引力。本文將以分析的角度，簡略介紹作曲家後，重點式探討其作品特色，最後還有筆者自身演奏詮釋分享。

關鍵字

簧片風琴

並列摘要

Born in the late 19th century, Sigfrid Karg-Elert's compositions succeeded the style of the late Romantic School, which was subjective and self-centered. Although he brokethrough the style of the Romantic School in many ways, he still could not get rid of the influences of the traditional composition skills. The materials of his works seemed to be simple, but he made thorough use of them and became a masterpiece. Just because some of his works had some French or English titles, in a very political sensitive time, he was dismissed by his own country unfortunately. Most of his works are for organ or harmonium while his instrumental music is quite few, especially for this piece. The complex structures and diverse characters have attractions for flute learner to find out. In an analytic aspect, this thesis will talk about the composer, discuss the character of the work and the final chapter will share my own opinions and interpretations of it.

並列關鍵字

Sigfrig Karg-Elert Harmonium

參考文獻

Harvey Grace. “The Karg-Elert Festival: A Talk with the Composer.”The Musical Times, Vol. 71, No. 1048 (Jun. 1, 1930): 501-504.

Stanley Sadie, 2nd ed. The New Grove Dictionary of Music and Musicians. 13 vols. London: Macmillan, 2001. S.v. “Karg-Elert, Sigfrid,” by Frank Conley.

Stanley Sadie. The New Grove Dictionary of Music and Musicians. 9 vols. London: Macmillan, 1980. S.v. “Karg-Elert, Sigfrid,” by Gwilym Beechey.

Oxford Music Online: http://www.oxfordmusiconline.com.dbs.tnua.edu.tw:81/subscriber/ June23, 2009

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Sigfrid Karg-Elert的《熱情》奏鳴曲作品140分析及詮釋

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