普羅高菲夫《C大調大提琴與鋼琴奏鳴曲作品一一九》作品研究與詮釋

這首《C大調大提琴與鋼琴奏鳴曲作品119》是普羅高菲夫一生中唯一為大提琴和鋼琴所寫的奏鳴曲。他在俄國政府層層的壓迫及身體狀況不佳的情況下，仍試圖以二十世紀初期的音樂語法作為創作的素材，如大量應用和聲外音、半音及鄰音，並突破傳統的和弦框架，以製造出新的音樂張力。正因普羅高菲夫這種特別的作曲手法，使得筆者在第一次聆聽到此曲時便受到其特別的音響效果及旋律給深深吸引，於是在選擇音樂會演奏曲目及詮釋報告時，此曲便成為筆者的不二首選。也因筆者本身親自演奏此曲，對於上述幾項特色就更加的令人感受到普羅高菲夫作曲時的熱情及作曲風格多變。希望藉由本文加以探討《C大調大提琴與鋼琴奏鳴曲作品119》之和聲配置、樂段結構、樂句分析，以及細部樂曲設計來更進一步的了解此曲，並對於筆者本身的詮釋能更有幫助。

關鍵字

普羅高菲夫、大提琴與鋼琴奏鳴曲、演奏詮釋

並列摘要

This Sonata in C Major, Op 119, for Cello and Piano is Prokofiev's only output in the genre. Under immense pressure by the USSR government and his poor health condition, still he managed to focus his effort in composing. Using the musical language of the early 20th century, such as elaborate usage of non-harmonic, half, and neighbouring tones as his canvas, together with his effort in breaking the framework of traditional tonality, he achieved a new form of musical tension in his works. Because of Prokofiev's special writing style, the writer was deeply attracted by the sound effect and melodies the first time she heard the piece, which leads to the decision to present the composition in a recital as well as this interpretation report. The writer's personal involvement in performing this sonata also helped her to relate to the music with Prokofiev's passion in composing and his wide ranging of writing style. By examining this sonata's harmonic progressions, form structures, and melodic phrases, it is hoped the findings would benefit the writer's understanding of the sonata, and in turn producing a well-grounded interpretation.