卡洛斯‧瓜斯塔比諾《給單簧管和鋼琴的奏鳴曲》之分析與演奏詮釋

卡洛斯‧瓜斯塔比諾(Carlos Guastavino, 1912-2000)為二十世紀阿根廷的鋼琴家及民族主義作曲家。在其有生之年，他曾經歷了第二次世界大戰與國家政權動亂，使得他的音樂作品展現出個人獨特情感與當地民俗風情。 1970年一月，在布宜諾斯艾利斯(Buenos Aires)國立音樂學院(National Conservatory)教授作曲的瓜斯塔比諾，以三年的時間完成《給單簧管和鋼琴的奏鳴曲》並題獻給單簧管演奏家路易斯．羅西(Luis Rossi, b.1947)。樂曲中除了使用保守的和聲聲響、優美浪漫的旋律線條，還注入了阿根廷當地的民族音樂與舞蹈元素；並在同年由羅西的單簧管老師馬丁．道(Martin Tow)和鋼琴家芮妮．德克斯(Renee Derks)，於布宜諾斯艾利斯的市政廣播電臺(Municipal Radio of Buenos Aires)首演轉播。本篇詮釋論文將涵蓋五個章節：分別為第一章緒論，簡要闡述研究動機、目的、方法及架構；第二章文獻探討，首先介紹阿根廷從十六世紀至二十世紀的音樂發展，再深入探討瓜斯塔比諾之生平、創作特色、作品創作背景與其首演資料；第三章樂曲分析與詮釋探討，以Lagos出版的樂譜作為依據，再藉由鋼琴合作者的觀點進行探討及分享；第四章有聲資料比較，將針對速度、音量以及音色等合作平衡上論述筆者個人想法；第五章結語，綜合上述分析重點，並提出筆者的觀點整理。

關鍵字

給單簧管和鋼琴的奏鳴曲；瓜斯塔比諾；阿根廷作曲家；鋼琴合作

並列摘要

Carlos Guastavino (1912-2000) was an Argentine pianist and a Nationalist composer of the 20th century. During his lifetime, he experienced the World War II and the turmoil of the national regime, which made his music show distinctive emotions and full of local cultural elements. In January 1970, Guastavino, who taught composition at the National Conservatory of Music in Buenos Aires, completed the Sonata for Clarinet and Piano in three years and delicated it to the clarinetist Luis Rossi (b. 1947). Within the music, he not only used traditional harmonies and beautiful romantic melodies, but added Argentine folk songs and dance elements to it as well; moreover, in the same year, he also premiered this music with Rossi’ s teacher Martin Tow and pianist Renee Derks on Municipal Radio of Buenos Aires. This written report has five chapters. The first chapter is lntroduction, which briefly describes the research motivations, purposes, methods and the framework. Following is chapter two Literature Review, in which I will concisely introduce the musical development of Argentina from the 16th century to the 20th century, and then discuss Guastavino’s life, composing characteristics, the background of Sonata for Clarinet and Piano and its premiere information. In chapter three Music Analysis and Music Interpretation, I will use the score published by Largos, and discuss about the form, harmonies and composing techniques. Ideas and points will be discussed and shared with collaborative pianist’s views. Chapter four is Comparison of Audio Materials, where I will present my own thoughts on the balance of speed, dynamics, timbre and so on. The final chapter will conclude important analysis points above and give my own ideas towards the thesis.