《史特勞斯降E大調小提琴奏鳴曲作品十八》
樂曲研究與詮釋探討

崇尚自由奔放及個人主義的浪漫思想，在十九世紀依舊持續進行著，而這種風潮在音樂中也是極為盛行。理查‧史特勞斯任職於麥寧根宮廷管弦樂團副指揮之前的時期，受到父親保守傳統的古典音樂風格影響，其作品也顯得較為保守。擔任這個職位時所接觸到的新想法，對於史特勞斯原本的音樂風格認知有極大的改變，也是促成史特勞斯之後創作交響詩的源頭。本文主要探討史特勞斯降E大調小提琴奏鳴曲作品編號十八。此作品可視為史特勞斯從原先保守的作曲形式轉變成日後個人風格的過度時期作品。本文內容從當時的環境背景來探討史特勞斯的作曲動機。此研究報告分別探討三個樂章的樂曲分析及詮釋，以曲式、樂段及樂句等做結構分析，再以小提琴與鋼琴之間的演奏與對應作近一步詮釋探討，並以史特勞斯之後的作品加以比較其關聯性。

關鍵字

史特勞斯；小提琴；奏鳴曲

並列摘要

In wake of the prevalent 19th century Romanticism that bolstered individualism and personal freedom, the musical development also emanated from this very movement. Prior to being the assistant conductor of the Meiningen Orchestra, Richard Strauss compositional style appeared to have been influenced by his father of the traditional conservative classicism. However, during the course of the conductorship, Strauss was able to experience many modern and unique compositional ideas which ultimately contributed to his later compositions of tone poem. The object of this paper is to analyze the Sonata for Violin and Piano in E-flat Major, Op. 18, by Richard Strauss, and reveal it as a transitional work for Strauss to formalize his highly individual style from a restrained conservative one. The paper proceeds with the compositional background of the sonata. It also brings about the investigation of the structural design and interpretive issues that Strauss laid out in all three movements of this work. Furthermore, it explores the aspect of performance practice and the relationship between the two instruments to a greater extend.