洪碩勵鋼琴畢業演奏會含輔助資料畢業演奏會錄音與樂曲解說及室內樂演奏會錄音

SHUO-LI HUNG GRADUATE PIANO RECITAL WITH SUPPORTING DOCUMENTS RECORDING AND PROGRAM NOTES OF THE GRADUATE RECITAL AND RECORDING OF THE CHAMBER RECITAL

洪碩勵(Shuo-Li Hung)

指導教授 ： 辛幸純

國立交通大學/人文社會學院/音樂研究所/碩士(2015年)

https://doi.org/10.6842/NCTU.2015.00122

摘要

摘要：透過作曲家的時代背景、音樂文化的環境來了解《莫札特D小調幻想曲》、《蕭邦第三號鋼琴奏鳴曲》、《普羅高菲夫第二號鋼琴奏鳴曲》、《古拜杜麗娜夏康》這四首作品。作曲家如何利用獨特手法、和聲色彩及受其他作曲家的影響創作膾炙人口的作品，會在曲目解說裡讓大家更深入了解及作品所呈現的不同特質。幻想曲的涵意是指「富有想像力的創作」，沒有固定形式，作曲家利用不同素材將幻想曲風格呈現出來。這首D小調幻想曲，莫札特是藉由對比的速度與力度、不穩定的和聲行進與調性、插入大量的即興樂段，來展現戲劇效果。在浪漫樂派眾多音樂家之中，蕭邦的作品傳承了古典技法、極具浪漫風格，並引領了現代樂派。他以自己的語法作曲，使樂曲受到後人的高度重視。蕭邦的第三號鋼琴奏鳴曲雖然沒像第二號鋼琴奏鳴曲富戲劇性與獨創性，但性格是明亮的，和聲語法更為自由，音樂內容更成熟。俄國作曲家的普羅高菲夫，寫了九首鋼琴奏鳴曲，其中D小調第二號鋼琴奏鳴曲是在學生時期所做的，作曲手法可約略見普羅高菲夫的成熟風格。

他以「傳統曲式的框架下，帶入新的音樂語法」為他的座右銘，在這些新的音響與色彩中，同時散發出新生命，也蘊含著懷舊的新古典精神，使他在二十世紀作曲家中顯得獨特醒目。同為俄國新音樂代表性的女作曲家─古拜杜麗娜，她在世界上創造了一種新的聲音，不僅掌握了所有的作曲技法，而且對歐美現代派藝術也融會貫通，連同東方的哲學思想也融入到她的音樂中，她的音樂有一種超越音樂本身的內在涵義。古拜杜麗娜的夏康採用變奏手法，有著強而有力且瞬息萬變的和絃，及活潑生動的特質。

關鍵字

莫札特幻想曲 ； 蕭邦第三號鋼琴奏鳴曲 ； 普羅高菲夫第二號鋼琴奏鳴曲 ； 古拜杜麗娜下康

並列摘要

This program note aims for a better understanding of the four works performed in the recital (Mozart's Fantasia in D Minor, K. 397, Chopin's Piano Sonata No. 3 in B Minor, Op. 58, Gubaidulina's Chaconne and Prokofiev's Piano Sonata No. 2 in D Minor, Op. 14), through the composers' historical background as well as musical and cultural environment. The readers will gain a deeper understanding of the different characteristics of the works by exploring how each composer of utilizes his/her own unique compositional techniques, usage of harmonic colors and the influence of other composers to create these celebrated works.
The implied meaning of Fantasia is "imaginative creation" without fixed form. Composers make use of various materials to present its characteristic style. In his Fantasia in D minor, Mozart explores the dramatic effect by contrasts in the tempi and dynamics, unstable voice leading and tonality, as well as a large number of improvised sections. Amongst numerous musicians in the Romantic Period, Chopin's oeuvre, though romantic in style inherits compositional techniques from the Classical Period, while opening up the door to the music of Modern Period. His idiosyncratic compositional style draws attention from later generations. Chopin's Piano Sonata No. 3, although not as dramatic and original as his Second Piano Sonata, is brilliant in spirit, freer in harmonic language, and richer in musical content. Gubaidulina is a female composer representative of new Russian music. She creates a new sound in the music world that has covered not only all the compositional techniques, but involves also the mastery of Modern Art in Europe and America along with the spirits of oriental philosophy. Her music exhibits inner meanings beyond the music itself. Gubaidulina composed this Chaconne using variation technique, with strong and rapidly-changing chords and lively characters. Another Russian composer, Prokofiev, wrote nine piano sonatas, amongst which the Piano Sonata No. 2 in D Minor was composed while he was still a student, yet in it his later marure style can already be sensed. His motto is "to bring in new musical languages within the framework of traditional musical forms." With these new sounds and colors, he stands out among composers of 20th century as radiating a new spirit, yet in the meantime preserving a nostalgic neo-classicism.

並列關鍵字

Mozart: Fantasia ； Chopin: Piano Sonata No. 3 ； Prokofiev: Piano Sonata No. 2 ； Gubaidulina: Chaconne

參考文獻

Fiess, Stephen C. E. The Piano Work of Serge Prokofiev. Metuchen: Scarecrow

Press, 1994.

Life and Work. PhD diss., New Orleans University, 2010.

Kurtz, Michael. Sofia Gubaidulina: A Biography. Bloomington: Indiana University

Press, 2007.