拉赫曼尼諾夫鋼琴作品二十二號<蕭邦主題變奏曲>之演奏詮釋

林幗貞

指導教授 ： 賴麗君

國立臺灣師範大學/藝術學院/音樂學系/碩士(2001年)

摘要

本文探討之主題為拉赫曼尼諾夫1902年的鋼琴作品＜蕭邦主題變奏曲＞之演奏詮釋。筆者將研究全文分為樂曲背景簡述、變奏樂段之個別分析、及整體內容綜合比較三大部份。在樂段個別分析結論上，變奏一至十，各個變奏樂段，無論調性、結構、和聲，仍多未脫離主題的限制，屬於嚴格變奏，彈奏時以連貫式銜接法為主。變奏十一起，調性及樂曲結構改變，強調樂段獨立性，只藉由動機或是節奏型，維繫主題與變奏間的關係，屬於自由變奏，銜接上則多以分節式為主。而綜合研究的結果顯示，此曲之創作手法及其結構與內容，皆傾向西方後期浪漫樂派之音樂風格；而繁多且複雜的音符、高難度的技巧取向，則充分表現出二十世紀以來俄國鋼琴音樂貫有的特色。變奏中節拍、節奏的特殊編排，織度變化上的巧妙運用，「設計性」強烈，其作曲技術的展示實則為變奏曲式的特色之一；然就演奏者來說，重點則在於，掌握住節拍與速度的變化所形成的節奏特徵及音樂風格，及織度的厚薄、聲部間的關係、對位或和聲的特質，所自然產生的音響效果、音樂色彩。演奏者了解作曲設計的用意，絕對有助於演奏詮釋的精準度，而各樂段的透徹分析，則能在演奏時更為客觀，達到感性與理性的平衡。 This thesis is the thorough research regarding the interpretation and realization in the performance of Sergei Rachmaninoff’s piano work “Variations on a theme of Chopin,op.22” written in 1902. In this paper，the author departs from the inspirations and background of the Variations’ composition, the detailed analysis of each variation, and the thorough comparison of the Variations. To conclude the analysis of each variation, it is strict and still within the criteria of the theme in variation I to X in modes, structures, harmonies.few breaks between each variation in performance. Since the variation XI and the following, it shows freer and more individual in style. The relationship between theme and variation escapes from the precedent mechanical characteristic to merely maintain of motivic and rhythmic patterns. Because of the apparent modal and structural changes, it needs a short break between variations to show the unique and individuality in performance. The juxtaposition of the compositional techniques, musical structures, highly virtuosic style, and the bravura group of notes in complexity of reading, present the definite piano music style of Russian Post-Romanticism. According to the examination of the compositional design, it is a good variation to discover the special arrangement of the tempo and rhythm, to display the variety in texture, and the best example to show off the genre itself with the highly compositional techniques. To performers, from handling the basic elements of the tempo changes to further realizing the sound texture, voicing, the elaboration of counterpoint and harmonies, the color, and sonority, they become the major issues to work on. This research, indeed for pianists, is pursuing the goal of interpretation accuracy, inspiration, and achieving the accomplishment in balance between rationality and sensitivity.

關鍵字

拉赫曼尼諾夫 ； 鋼琴曲 ； 變奏曲 ； 變奏曲式 ； 主題

並列摘要

This thesis is the thorough research regarding the interpretation and
realization in the performance of Sergei Rachmaninoff’s piano work “
Variations on a theme of Chopin,op.22” written in 1902.　In this paper，the
author departs from the inspirations and background of the Variations’
composition, the detailed analysis of each variation, and the thorough
comparison of the Variations.
To conclude the analysis of each variation, it is strict and still within the
criteria of the theme in variation I to X in modes, structures, harmonies.few
breaks between each variation in performance.　Since the variation XI and the
following, it shows freer and more individual in style.　The relationship
between theme and variation escapes from the precedent mechanical
characteristic to merely maintain of motivic and rhythmic patterns.　Because
of the apparent modal and structural changes, it needs a short break between
variations to show the unique and individuality in performance.
The juxtaposition of the compositional techniques, musical structures, highly
virtuosic style, and the bravura group of notes in complexity of reading,
present the definite piano music style of Russian Post-Romanticism.　According
to the examination of the compositional design, it is a good variation to
discover the special arrangement of the tempo and rhythm, to display the
variety in texture, and the best example to show off the genre itself with the
highly compositional techniques.　To performers, from handling the basic
elements of the tempo changes to further realizing the sound texture, voicing,
the elaboration of counterpoint and harmonies, the color, and sonority, they
become the major issues to work on.　This research, indeed for pianists, is
pursuing the goal of interpretation accuracy, inspiration, and achieving the
accomplishment in balance between rationality and sensitivity.

參考文獻

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Machlis, Joseph：Introduction to Contemporary Music. New York：

College Publishers,1993.

_____________ An Outline of the History of Music. New York：Barnes & Noble

Sadie, Stanley.　　　The New Grove Dictionary of Music and Musicians. London