卡爾‧皮爾斯《小號與鋼琴奏鳴曲》分析與詮釋

歷經歐洲古代鑄造法、中世紀鍛造法，文藝復興時期宮廷小號團的發展之後，小號曲目在巴洛克時期達到顛峰。但在古典時期之後小號獨奏曲目稀少，即使銅管樂器閥門的發明後也少有著名獨奏曲，具備奏鳴曲式的小號奏鳴曲一直到1935年才出現。 1960年代著名的維也納音樂院教授卡爾‧皮爾斯在擔任首位維也納歌劇院合唱助理指揮與獨唱排練指導期間，創作了許多重要的銅管曲目。1935年他為海爾穆特‧沃比許創作的《小號與鋼琴奏鳴曲》是史上第一首為小號與鋼琴所作的奏鳴曲，也是巴洛克時期後第一首以奏鳴曲為名的小號獨奏曲目。本曲三個樂章的曲式極端對稱，除了有如奏鳴曲式典範之外，還包含浪漫晚期主曲調音樂中遠系轉調與複雜和絃的特色，以及巴洛克時期複音音樂的主題模仿、緊接與賦格。本研究透過歷史文獻探討與樂曲分析，對皮爾斯《小號與鋼琴奏鳴曲》提供兼具歷史資料與樂曲分析所得之詮釋觀點。期能成為對本曲愛好之小號演奏者至今最實用的中文參考資料。

關鍵字

小號；小號奏鳴曲；皮爾斯

並列摘要

After the development of trumpet from casting in ancient era, forging in medieval period and court trumpeters in renaissance, the summit of trumpet repertoire was reached in baroque era. But the trumpet solo pieces are rare since classical era and even after the invention of the valves of brass instrument in romantic era. There's no trumpet sonata composed with sonata form until 1935. Karl Pilss, the famous professor of Vienna Conservatory in 1960s, wrote many important brass pieces during his tenure as Solokorrepetitor and very first chorus assistant conductor of Vienna Opera House. Sonate für Trompete und Klavier which he wrote for Helmut Wobisch in 1935 is the first sonata for trumpet and piano and also the first piece named as sonata for trumpet after baroque era. The forms of all 3 movements in this sonata are extremely symmetric. In addition to being a model of sonata form, both characters of homophony such as extraneous modulation, complex harmony and characters of polyphony such as imitation, stretto, fugue are included in this sonata. Through historical literature review and music analysis, this thesis provides an interpretive view of Pilss's Sonate für Trompete und Klavier. Hope it becomes the most practical reference material in Chinese language for trumpeters who love this sonata.