鄭喬文小提琴演奏會含輔助文件易沙意《第三號無伴奏小提琴奏鳴曲》之音樂特色與詮釋

CHIAO-WEN CHENG VIOLIN RECITAL WITH A SUPPORTING PAPER The Characteristics of Music and Interpretation on E. Ysaÿe's Sonata no.3 for Violin Solo

鄭喬文(Chiao-Wen Cheng)

指導教授 ： 李俊穎

國立交通大學/人文社會學院/音樂研究所/碩士(2011年)

https://doi.org/10.6842/NCTU.2011.00500

摘要

易沙意(Eugène Ysaÿe,1858-1931)，他因師承小提琴家魏奧當（Henri Vieuxtemps, 1800-1881）與韋尼奧夫斯基(Henryk Wieniawski,1835-1880)，演奏風格同時融合了十九世紀後半小提琴以薩拉撒泰(Pablo de Sarasate, 1844-1908)為首的華麗炫技技巧以及姚阿幸（Joseph Joachim, 1831-1907）對音樂的內斂深刻情感，同時，亦致力於推展當代法國作曲家的作品。由於他獨特的演奏風格，為當代的小提琴演奏家樹立了新的典範，故被視為小提琴法比學派（Franco-Belgian School）最重要的傳人。
無伴奏小提琴作品於十七世紀末首次出現，而後十八世紀初巴哈（Johann Sebastian Bach, 1685-1750）的六首無伴奏奏鳴曲與組曲（Six Sonatas and Partitas for Violin solo）達到巔峰，之後沉寂了很長的一段時間，直到二十世紀才因易沙意的緣故，使無伴奏小提琴奏鳴曲的作品再現高峰。在此之前，無伴奏小提琴奏鳴曲的作品數量並不多。作品27的六首無伴奏小提琴奏鳴曲創作於1924年，之所以會創作這套作品，是因為易沙意在聽了小提琴家西格提（Joseph Szigeti, 1892-1973）演奏巴哈的六首無伴奏小提琴奏鳴曲與組曲的之後，深受西格提的演奏而感動，因此決定撰寫六首無伴奏小提琴奏鳴曲。易沙意在這部作品的創作手法中，除了運用了傳統的結構外，更加入了許多嶄新的創作技法，他特別在樂譜上標示了一些特別的演奏記號，例如要演奏高四分之一音、低四分之一音的微分音、六聲部的和弦等，這些演奏技巧對於當時來說，幾乎是全新的概念。而這六首分別題獻給當代著名的小提琴家，每首的風格也截然不同。
本論文研究對象為作品27的六首無伴奏小提琴奏鳴曲中的第三號奏鳴曲，樂曲的標題為《敘事曲》（Ballade），題獻給小提琴家安奈斯庫（Georges Enesco, 1881-1955），是一首內容富於變化且充滿高度技巧性發展的樂曲。研究方法包含兩部分：第一部分為針對易沙意與題獻對象安奈斯庫之間的相關背景連結樂曲所引發的共通性，第二部分則是利用概略性的樂曲分析與其他參考資料，加入筆者個人詮釋方法與練習感想，對此曲在實際演奏需注意的事項詳加闡述。

關鍵字

易沙意 ； 安奈斯庫 ； 法比學派 ； 無伴奏小提琴奏鳴曲 ； 微分音

並列摘要

Eugène Ysaÿe, a student of Henri Vieuxtemps and Henryk Wieniawski, played with a style that can be regarded as a synthesis of the two opposite extremes in the way in the style of violin performance represented by Pablo de Sarasate and Joseph Joachim. It was him who influenced violinists in the twentieth century and who became the successor of the Franco-Belgian School.
The first examples of music for unaccompanied violin dated from the late seventeenth century and reached its first peak with the six sonatas and partitas for violin solo by J. S. Bach. Then it declined until it was revived in the twentieth century by Ysaÿe. His “Six Sonatas for Violin solo, op.27” were composed in 1924. Ysaÿe was deeply impressed by Szigeti’s performance on the violin solo sonata by J. S. Bach, and he was moved to compose his own sonatas. In these six sonatas, Ysaÿe not only used traditional composition skill but also brand-new technique, such as microtone and chord of six notes. Each sonata is dedicated to and written in a style appropriate to a celebrated violinist of his time.
The subject of this research is Ysaÿe’s sonata for violin solo, op.27, no.3 “Ballade”, which dedicated to Georges Enesco. It mainly contains two subjects: The historical background and the performance aspects. The historical background provides the origin and development of violin solo sonata which connects to the interaction between Ysaÿe and Enesco. The performance aspects contain personal interpretation through the analysis of music structure and performance issue based on the writer’s experience.

並列關鍵字

Ysaÿe ； Enesco ； Franco-Belgian School ； Sonata for Violin solo ； Microtone

參考文獻

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