莫札特D大調第三十八號交響曲《布拉格》K. 504指揮詮釋

莫札特（Wolfgang Amadeus Mozart, 1756-1791）為奧地利作曲家，自幼即顯露出超凡的音樂才華，是著名的「音樂神童」，與海頓（Franz Joseph Haydn, 1732-1809）、貝多芬（Ludwig van Beethoven, 1770-1827），同被稱為「維也納古典樂派大師」。《布拉格》交響曲共三個樂章，是莫札特1781年至維也納定居後唯一一首非四個樂章的交響曲，與莫札特其他交響曲的輕快明亮相比，這首曲子的風格一開始顯得較為沉重嚴肅。曲子以情緒濃厚的慢板開始，進入主題後，雖然速度轉成快板，卻隱約透露著不安的情緒，甚至莫札特刻意放棄輕快的小步舞曲，而以第三樂章急板結束這首充滿戲劇性起伏的交響曲。透過本文主題的研究，可以瞭解莫札特交響曲的特色及古典樂派交響曲之發展脈絡。在指揮技巧上，則可以有系統的分析拍型、手勢預備動作及樂句處理與運用，對於音樂線條的表達與排練效率皆有幫助。研究者首先由生平及創作背景研究，曲式分析，探討指揮詮釋，最後在結論部分綜合三個樂章做綜合統整分析。

關鍵字

莫札特；第三十八號交響曲《布拉格》；古典樂派；交響曲

並列摘要

Wolfgang Amadeus Mozart was an Austrian composer. Since childhood, Mozart showed extraordinary musical talent, and was thus famously known as a "music prodigy". Along with Franz Joseph Haydn (1732-1809) and Ludwig van Beethoven (1770-1827), he is one of the great composers of the First Viennese School. "Prague" consists of three movements. It is the only symphony that Mozart composed and did not have four movements after his settlement in Vienna in 1781. Compared with the light and bright feel of Mozart's previous symphonies, the style of the music at the beginning of this mature work seems quite heavy and solemn. The piece begins in a deep, rich adagio. Although the pace quickens to an allegro after entering the theme, there is still a faint hint of uneasiness in the mood. Mozart deliberately let go of the light and brisk minuet, and ended this dramatic, undulating symphony in the third movement, in presto. Through research on this topic, understanding can be gleaned about the characteristics of Mozart's symphonies and the developmental contexts of the symphony in classical music. Concerning conducting techniques, a systematic analysis of beat, gesture preparation and movement, and phrasal treatment and application can be conducted. This analysis will be helpful for expressing the melodic line and for increasing the efficiency of rehearsal of the piece. The study will begin with an introduction to research on Mozart's biographical information and creative background, analysis of his musical style, and then move on to investigate his interpretation as a conductor, and finally conduct a comprehensive analysis on the three movements of "Prague" in the conclusion.