斯卡拉第鋼琴奏鳴曲探討與教學應用

多明尼哥‧斯卡拉第（Domenico Scarlatti,1685-1757）一生創作五百五十五首鋼琴奏鳴曲，而這五百五十五首鋼琴奏鳴曲奠定他在巴洛克時期的特殊地位。當時他是個開創性的作曲家之一，有著多元的音樂風格與曲種，以及模仿其他樂器之聲響與彈奏技巧，並且有別於當代的彈奏機制，例如：運用到手臂動作彈奏，且在樂曲中融合舞曲節奏，更是發展出奏鳴曲曲式之雛形，也開啟曲種形式之前導，這些都是他與當時代其他作曲家不同的地方與特色。本論文探究其鋼琴奏鳴曲之創作歷史背景之結果，爾後做進一步的教學應用之範例。斯卡拉第一生橫跨了巴洛克與前古典時期，兩個時期的際遇對於他五百五十五首鋼琴奏鳴曲之音樂風格與彈奏技巧有著深遠的影響力。他的創作基礎奠定於巴洛克時期，而他的五百五十五首鋼琴奏鳴曲則是在前古典時期所作，是他綜合一生之精華，這也是他鋼琴奏鳴曲傾向主音音樂之原由。他的鋼琴奏鳴曲之音樂風格多元，主要的影響來自於義大利的民謠、西班牙與葡萄牙之異國舞曲特色，再加上時代背景的渲染，亦創作牧歌、賦格等曲種。另外，從斯卡拉第鋼琴奏鳴曲中發現他喜好舞曲類型的音樂作品，五百五十五首樂曲中，就有四百多首以三拍子、六拍子以及舞曲的節奏型態所創作而成，且大多以快板或極快板之速度來呈現。斯卡拉第鋼琴奏鳴曲雖被學者統稱為「奏鳴曲」，但實質上是開創奏鳴曲曲式之雛形，鋪陳「練習曲」體裁之前導，啟發後世作曲家對於「練習曲」之概念，在使斯卡拉第在音樂史上有著舉足輕重的地位。斯卡拉第在鍵盤樂器上的彈奏技巧是非常有突破性，他運用模仿其他樂器之聲響與彈奏技巧，來追求音樂之完善與聽覺、視覺上之享受，其創作之彈奏技巧有，遠距離大跳、雙手交叉、雙手輪替、快速音階琶音、三度、六度與八度音程，這對於當時僅限於手部前端動作的彈奏機制是一大創舉，所以在教學上，亦可是教師在學生進入浪漫樂派前的前導之作品選擇。斯卡拉第鋼琴奏鳴曲數量眾多，作品彈奏程度上也有區分，所以研究者根據J. Magrath著(Pianist’s Guide to Standard Teaching and Performance Literature)一書將斯卡拉第鋼琴奏鳴曲之程度分參考級數，將其五百五十五首鋼琴奏鳴曲作程度的分級，斯卡拉第鋼琴奏鳴曲大約落在中高級7-10級間，少數作品落在初級3級。最後研究者選擇兩手彈奏技巧、程度、樂曲風格皆不相同的，作品K. 24與K. 239作進一步的教學應用，故研究者挑選於教學應用之範例。

關鍵字

斯卡拉第；鋼琴奏鳴曲；練習曲

並列摘要

Domenico Scarlatti (1685-1757) was noted particularly for his 555 piano sonatas, which had firmly established his exceptional presence in the Baroque period. Scarlatti was one of the most multi-stylistic and creative composers of the day. His works consist of various musical styles and genres. He also developed unique techniques of imitating other instruments’ sound and performing, which were different from contemporary performing mechanism. For example, he employed the movement of arm into piano performance. He also applied the rhythm of dance music in his compositions. Moreover, he was the precursor who developed the original Sonata form. These were his features as a composer who quite different with others.These features render him a unique composer from others at that time. This dissertation explores the historical background of Scarletti’s piano sonatas, and the result of this study can be a further model for the application of teaching. Scarlatti experienced Baroque and Pre-classic period. The experiences of Scarlatti during these two periods had had a profound effect on the musical styles and performance techniques of his 555 piano sonatas. Scarlatti laid the groundwork of his composition in the Baroque period. However, his 555 piano sonatas were created in the Pre-classic period, which were the essence of his lifetime works and also explained why his sonatas were mostly homophonic. Scarlatti’s sonatas are so varied in their forms and styles, which were highly influenced by Italian folk tunes and Spanish and Portuguese exotic dance rhythms at that time. Aside from his many sonatas, Scarlatti composed a number of Madrigals and the Fugues.form was frequently seen in his music. Besides, it is obviously to perceive that Scarlatti favored dance rhythms. Of the 555 Scarlatti sonatas nearly 400, principally running in triple meter and hexa meter, are created in the form of dance rhythm and mostly expressed in the tempo of Allegro and Allegro Vivace. Although Scarlatti sonatas were addressed “sonata” by scholars, they could be as the original form of sonata and the pioneer of the form of etude. His works inspired the successors with the concept of etude, which had made him become one of the most important composers in the history of art music. Scarlatti developed many groundbreaking techniques in piano sonata to pursuit the perfection of music and satisfy the need of auditory and visual modality, such as imitating other instruments’ sound and performing skills. He explored virtuoso technique in these sonatas, employing devices such as, big skip, hand-crossing, running scale and running thirds, sixths, and octaves, etc. It was remarkable innovation compared to contemporary performing mechanism, which was restricted only to local movement of forehands. Therefore, teachers can choose Scarlatti sonatas as teaching materials before introducing Romanticism repertoire to students. Scarlatti sonatas are rich in quantity and can be graded on the basis of the degree of performance difficulty. According to the ranking standard proposed by the book “Pianist’s Guide to Standard Teaching and Performnce Ltrture”written by J. Magrath, the researcher of this study tried to grade Scarlatti’s 555 sonatas into several classes. The researcher has found out that most of Scarlatti’s sonatas fall between 7th to 10th grade and only a few fall in 3rd grade. Finally, the researcher adopt Scarlatti’s work K. 24 and K. 239, which varied in technique, performance degree, and musical style, as further applications and models for teaching.