黃欣儀低音提琴演奏會 含輔助文件：波特西尼《升f小調協奏曲》之演奏詮釋探討

Shin-Yi Huang Double Bass Recital with a supporting paper: An Interpretation of Bottesini's Concerto in f sharp minor

黃欣儀(Shin-Yi Haung)

指導教授 ： 陳維哲 ； 李俊穎

國立交通大學/人文社會學院/音樂研究所/碩士(2010年)

https://doi.org/10.6842/NCTU.2010.00599

摘要

波特西尼(Giovanni Bottesini 1821-1889)，是低音提琴歷史中地位相當重要的一位人物，他不但是一位低音提琴演奏家、指揮家，也是一位作曲家，除了寫作歌劇外，還創作了大量的低音提琴曲目；正因為他指揮歌劇、創作歌劇的背景，在他的低音提琴曲中，隨處可見宛如歌劇詠嘆調一般的優美旋律，不僅如此，他最重要的貢獻，是在樂曲中利用大量的泛音以及琶音，讓低音提琴獨奏的技巧提升到另一個境界。
升f小調協奏曲(Concerto in f sharp minor)集合了波氏的寫作特點—優美的歌唱性旋律、炫技的琶音與泛音等，並且結構完整、規模宏大。本論文主要透過二個部分，來探討這首樂曲。首先了解作曲家生平，及同時期低音提琴發展情形與演奏風格，接下來歸納作曲家常用寫作手法，並依樂章順序提出筆者對樂曲的自我詮釋。第一樂章是傳統的協奏曲奏鳴曲式，使用快慢交替的寫法，並擁有篇幅相當長的裝飾奏，對演奏者的體力和技巧來說，都不容易的挑戰。第二樂章是ABCA的歌謠曲式，此樂章將波特西尼作品的歌唱性旋律特點表現得淋漓盡致，簡單的旋律線條綴以華麗的裝飾性音符，如同寫給花腔女高音演唱的一般美麗，每個大段落都有自己不同的個性，因此要適當地轉換各段之間的情緒。第三樂章是ABA三段體，以音階和軍隊風格的音型為貫穿全曲主要元素，是以炫技為目的的樂章。此外，A段與B段都使用了音階為主要元素，波氏很巧妙地利用音型的反向與音符符值的增長，造成二個段落之間有趣的對比。

關鍵字

波特西尼 ； 協奏曲 ； 低音提琴 ； 升f小調 ； 作曲手法

並列摘要

Giovanni Bottesini, who played an important role of history of double bass, was not only a master of double bass, but also a conductor and a composer. His works included operas and lots of double bass solo works. According to his background of conducting and writing operas, beautiful melody which is like arias in opera is one of his work’s characteristics, and can be seen everywhere in his works of double bass. In addition, the most important one of his contributions is promoting techniques of double bass by using a large number of harmonics and arpeggios.
Concerto in f sharp minor is one of his solo works of double bass. It includes all Bottesini’s writing characteristics—melody of singing style, use of harmonics and arpeggios—and has complete structure and great scale. This article is about to interpret this work through two different parts. First part is to know the biography of Bottesini and contemporary development and performing style of double bass. Second part includes usual writing methods of Bottesini and my opinion of interpretation of this concerto. Fist movement is a traditional sonata form of concerto, and presents the whole movement by the alternation of slow and fast part, and has a long cadenza show all difficult techniques. Second movement is a song form which can be divided into four parts, and presents the singing style by using lots of delicate melodies. In this movement, Bottesini wrote simple melodies with ornamental notes and each part has different way of ornamentation to present their own character. Therefore, performers need to think about how to change the emotions appropriately among different parts. Third movement is a ternary form which intends to show off the complicated skills on double bass. The main materials of this movement are scale and notes of military style. Bottesini created a interesting effect by using opposite directions of notes and longing the value of notes in B part.

並列關鍵字

Bottesini ； concerto ； double bass ； f sharp minor ； writing methods

參考文獻

卓涵涵，〈波特西尼生平與美聲唱法的關係，暨升f小調低音提琴協奏曲之樂曲分析、版本研究與名家演奏詮釋分析〉（台北市：國立台北藝術大學管絃與擊樂研究所碩士論文，2005）。

Nicholas Temperley. "aria." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e376 ( accessed April 10, 2010)

Timothy Jones. "concerto form." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e1552 ( accessed April 9, 2010)

Bottesini Vol.1. Thomas Martin. ASV CD DCA 563, © 1986.

Giovanni Bottesini: Double bass concertos. Ovidiu Badila. DYNAMIC CDS210. © 1998.