貝多芬作品九十八《致遙遠的愛人—聯篇歌曲》之研究

貝多芬的聯篇歌曲《致遙遠的愛人》曲式為帶有回頭與尾奏的變化七段式貫穿歌曲，每段皆為多節反覆歌曲。 A樂段〈我坐在山崗上〉鋼琴部模仿鳥鳴，音樂描繪愛情的憧憬。 B樂段〈在那蔚藍山巒〉有平行轉調、附屬和絃與屬九和絃、在同音反覆的旋律等特色伴，顯得輕巧美妙。 C樂段〈群燕凌空飛翔〉有平行調、拿坡里和絃、鋼琴輕快的三連音、歌唱部斷音式的旋律與切分節奏等特色；歌者唱哀傷的小調時，須做較暗、較悶的音色。 D樂段〈這些空中白雲〉有平行調、增六和絃、鋼琴模仿鳥鳴、切分音、重複歌詞的特色。 E樂段〈五月再度來臨〉有屬九和絃、鋼琴模仿鳥鳴、農村舞曲風格、重複歌詞的特色；歌者須在c小調中表現落寞地自我掉淚。 F樂段〈帶走這些歌吧〉有許多轉調與附屬和絃，鋼琴用「阿貝提低音」(Alberti Bass)音型表達甜蜜的意象，三連音描繪湖畔黃昏景象；歌者要掌控好弱聲、漸慢與漸強漸弱的技巧。 A1樂段是本曲最高潮，歌者須以最強音量在高音域俐落地結束旋律。鋼琴的尾奏將蓬勃的情緒帶至平靜，最後卻以突強音和絃結束樂曲。

關鍵字

貝多芬；九十八；致；愛人；聯篇歌曲

並列摘要

The song cycle, 'An die ferne Geliebte' ('To the distant beloved'), composed by Ludwig van Beethoven, has the variety-through-composed form of 7 sections with da capo and coda, every section is strophic song. Section A, "Auf dem Hügel sitz' ich " ('On the hill sit I, peering"), the piano part imitates the birds singing, the music performances to whom a longing for love. Section B, "Wo die Berge so blau" ("Where the mountains so blue"), which with parallel key modulation, ornamented chords, dominant ninth chord and melody with repeated tone, is beautiful and light. Section C, "Leichte Segler in den Höhen" ("Light veils in the heights"), has parallel key modulation, Neapolitan chord, triplet of piano part, staccato style of melody and syncopations, which are the distinguishing features in this section; when the singer sings the minor melody, should be with sad, dark and muffled color of voice. Section D, "Diese Wolken in den Höhen" ("These clouds in the heights"), has the distinguishing features of parallel key modulation, augmented sixth chord, the imitation of birds singing in the piano part, syncopation and melodies with repeated lyrics. Section E, "Es kehret die Maien" ("May returns, the meadow blooms"), has the distinguishing features of dominant ninth chord, the imitation of birds singing in the piano part, country style of dance music and melodies with repeated lyrics; the singer should show the lonely weeping by himself in c minor music. Section F, "Nimm sie hin denn, diese Lieder" ("Take, then, these songs"), has many modulations and ornamented chords, the piano part is with "Alberti bass" figure to show the sweet imagination of motion, the triplets used to descript the nightfall by the lake; the singer must control well the soft dynamic, the skill of ritardando, crescendo and diminuendo. Section A1 is the Climax of this song cycle. The singer has to use the forte Volume sing to the end cleanly in high voice register. Piano coda calms down the highly exciting end of the singing, but in the end of coda, piano chord is with sforzando.